adam rosekelly 2000-2015 100dpi spread2small

adam rosekelly_DESIGN PORTFOLIO

j u s t b r e a t h e

Adam Rosekelly_Portfolio2

Contents

Studio Techne ArchitectsCLEVELAND HEIGHTS LIBRARY . . . . . . . . . . . . . . . 4

E r i c O w e n M o s sSAMITAUR TOWER . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

GABAY LABREA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

BALANDRA CITY MASTER PLAN . . . . . . . . . . . . . . 12

SUNSET DOHENEY . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

F I E L D SOCEAN FRONT WALK . . . . . . . . . . . . . . . . . . . . . . . . 18

HILLSIDE RESIDENCE . . . . . . . . . . . . . . . . . . . . . . . . 20

POTRERO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

RESIDENCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

HOUSE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

CRISSCROSS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

ROCK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

JIGSAW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

BLOCK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

STACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

THE CHEERIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

L D A A r c h i t e c t sLARCHMERE LOFTS . . . . . . . . . . . . . . . . . . . . . . . . . . 36

BOHN TOWER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

3219 DETROIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

OHIO CITY MASTER PLAN . . . . . . . . . . . . . . . . . . . . 42

I n s t a l l a t i o n sJUST BREATHE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

RGB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

BINOCEROS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Contents

Products and Digital PrototypingYIN AND YANG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

ROBOTIC BENDING . . . . . . . . . . . . . . . . . . . . . . . . . . 58

KINEMATIC 3D PRINTED LIGHT . . . . . . . . . . . . . . . 60

FURNITURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

PLASTER LAMPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

SUSPENDED CABINET . . . . . . . . . . . . . . . . . . . . . . . . 67

REBAR TABLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

CHAIR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

BUTCHER BLOCK COUNTER TOP . . . . . . . . . . . . . . 69

SUSPENDED SHELVING . . . . . . . . . . . . . . . . . . . . . . . 70

DRIFTWOOD SCULPTURE . . . . . . . . . . . . . . . . . . . . . 73

AROS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

CNC MILLING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

WATER JET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

t e a c h i n gFALL 2011 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

SPRING 2012 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

a c a d e m i c 2000-20042ND YEAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

FINE ARTS CENTER . . . . . . . . . . . . . . . . . . . . . . . . . . 86

3RD YEAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

HOLOCOST MEMODRIAL . . . . . . . . . . . . . . . . . . . . . 87

4TH YEAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

INTEGRATED DESIGN STUDIO . . . . . . . . . . . . . . . . 88

5TH YEAR METHODS AND MATERIALS . . . . . . . . 90

5TH YEAR, 3D STUIDO MAX ANIMATION . . . . . . . 91

GRAPHIC DESIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

p h o t o g r a p h yLANDSCAPES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94


CLEVELAND HEIGHTS LIBRARY

S t u d i o T e c h n e A r c h i t e c t s

Shelving begins to shift, a playful experiment in the childrens area .

An egg shaped space is sliced through the middle with a beam of backlit acrylic .

2004Studio Techne Architects

Budget: $2,000,000Renderings are done 3D Studio Max

Project manager and designer

In my first year after graduation, I began designing and detailing the interior renovation

of a nearby library. They were designed and rendered by myself. I then began directing a

team of people to help with the detailing and execution. The primary concept of the interior

was that of a book binding which began to teather. This teathering set up the concept for

a ceiling which would unfold and weave itself throughout the interior, concealing existing

conditions which were to remain.

REFLECTED CEILING PLANS


E r i c O w e n M o s s


2005Eric Owen Moss Architects

Budget: $2,000,000As part of a three-person team, I participated in the design execution and evolution through physical modeling, drafting, and computer modeling

Engineered by Arup, the project was developed to have an exposed steel plate structure,

giving the mass shear strength despite its eccentric form. The project provides a beacon in

the Culver City arts district, allowing artists to rear-project images on its skin. The fashion

photographer (image left) image, captures its essence through emphasis of the brutal form,

light and shadow. I participated in design discussions helping to establish the final form

and details. These decisions were worked out through elevations, sections, computer and the

physical model shown here.

SAMITAUR TOWER


2005Eric Owen Moss ArchitectsBudget: UnknownDesign CompetitionResponsible for physical model, plans, elevation, and section studies.

Located at the busy intersection of Gabay and La Brea in Hollywood, the project funnels sunlight

through courtyard spaces carved from the buildings bent form. The openings are sliced at angles

intended to maximize sunlight penetration to landscape zones below. The project is residential with

retail at its base and a theater occupying the corner mass. Parking is within and below. EOM won the

competition but the project has not yet been realized.

GABAY LABREA

2005Eric Owen Moss ArchitectsBudget: UnknownDesign CompetitionResponsible for physical model, plans, elevation, and section studies.

Located at the busy intersection of Gabay and La Brea in Hollywood, the project funnels sunlight

through courtyard spaces carved from the buildings bent form. The openings are sliced at angles

intended to maximize sunlight penetration to landscape zones below. The project is residential with

retail at its base and a theater occupying the corner mass. Parking is within and below. EOM won the

competition but the project has not yet been realized.

Adam Rosekelly_Portfolio12BALANDRA CITY MASTER PLAN


Budget: Not definedAs part of a three-person team, I develop four concepts for

an eco-city working between Rhino and Illustrator

The plan below was part of an 80 page book containing 4 proposals for a sustainable

city off the coastline of Balandra Bay, Mexico City. The project explores a city which

exists off the grid, deriving its power entirely from natural energy sources, preserving

the coastline’s natural beauty. The enlarged axon is the plan on which I focused. The

parti is based on an inverse Nolli plan: Buildings take the shape of public spaces. The

public or negative spaces then become what traditionally would be the shape of

cathedrals and buildings. Power is generated through large water collection devices

which use the hydrostatic power to generate electricity while distributing water to the

city. Solar power is used to generate the initial flow of water to collection devices. The

sides of dams are used for dwellings. In the end, of the four concepts, the Mexican

government chose this one but the project remains unrealized.

BALANDRA CITY MASTER PLAN


SUNSET DOHENEY


Budget: $60,000,000Primarily responsible for physical model, computer model, rendering, planning, and code analysis.

The pixilated facade is composed of flat planes of glass without

triangulation. Each plane is a unique parallelogram creating the

curved effect. The steeper the curve, the further the pixilations

breaks down. Facade and structure are allowed to intersect creating

complicated intersections of steel and glass. I was solely responsible

for building the 1/2” scale model, resolving many of these complexities.

I did this through a back and forth study of the computer and

physical models. The computer model was accomplished through a

combination of 3DS Max and Rhino.


F I E L D S

F I E L D S was established in 2005 as an outlet for personal creative works. It operated

as a full fledged design firm from 2006-2010. The name stems from my fascination with

all fields of design but equally the presence of fields around us, most importantly the light

which casts its shaddows forming fields of light. You will find that light and the way it

enters space plays a large role in all of my work.


2010FIELDS

Budget: $5,000,000Responsible for all aspects of project

The goal of the project was to optimize views towards the beach while providing privacy from

adjacent properties. The rear of the house was made primarily private, as it fronts an alley

and contains bedrooms while the ocean side was left entirely open. The skin provides this

privacy while allowing light to penetrate the thin layer of metal perforated with 1/16” diameter

openings. A second pattern of perforations is cut to create a change of density across the

facade. OCEAN FRONT WALK


The existing Spanish-style home lacked a formal entrance and did not take advantage of Los

Angeles downtown views. The driveway is reconfigured to allow entry on the first level into a

grand foyer opening to the existing pool. The addition’s exterior is designed to blend with the

existing rough textured stucco. Small openings allow light into a three-story space with lower

level containing a lap pool and exercise room. Arches tie the old and new structures together.

The upper floor of the addition is a master suite offering views of the downtown Los Angeles

skyline.

2008-2010FIELDSBudget: $4,000,000Responsible for all aspects of project through schematic design

HILLSIDE RESIDENCE


2009FIELDSBudget: UndeterminedResponsible for design direction, management, modeling and rendering.All of the models are built in Rhino and rendered in V-ray

PROJECT |1

FebJan Mar

SUN STUDY

POTRERORESIDENCE

2009FIELDSBudget: UndeterminedResponsible for design direction, management, modeling and rendering.All of the models are built in Rhino and rendered in V-ray

Situated in the Santa Monica mountains in Hidden Valley

California, a couple of hours north of Los Angeles, the estate

boasts panoramic views of the rolling hills and mountainscapes.

The challenge was to hide a ten car garage beneath the requested

10,000 sf residence, capture views in a unique way, and open

the house to the outdoors. In a short couple of weeks, myself

and another team member developed a wide variety of concepts.

Three were chosen within the office for further development with

floor plans and material studies developed to present the client.

The three developed in greater detail included rock, house, and

stack.

CONCEPTSPROJECT | 6

Apr May Jun

HOUSECRISSCROSSROCKJIGSAWBLOCKSTACK

Adam Rosekelly_Portfolio24HOUSE

HOUSE is created by arbitrarily stacking volumes

which are then carved to create a massing similar

to the house typology with an intentionally

dramatic and formal presence on the site. Voids range in

size creating windows and balconies facing all directions.

Board-formed concrete and mirrored glass create the

material palette. A skylight penetrates the center volume

creating a central courtyard within the house, reducing

the floor plate depth and bringing light throughout the

house.

1


CRISSCROSS

CRISSCROSS

explores the weaving of space from

above and underneath creating

space for light to pass into the large

floor plate, creating voids in plan

that surprise you with unpredictable

intersections. The ground floor is more

porous than the upper but provides

a structure for the upper plinth to

rest. Bars of equal dimension provide

opportunity for unobstructed and

framed views of the landscape. Upper

floor openings allow light to penetrate

the base keeping spaces well lit but

protected from the mid-day heat which

consumes the afternoon.

2


3

ROCK

ROCK is a direct response to the rock found on site. It acts as a lantern at night, glowing

from the rectangular volumes removed, creating an opportunity for balconies. The mass

sits above a garage allowing the form to reveal its belly. Two voids pass through the

mass vertically from roof to garage level, bringing light through its core. The pool takes the

form of four intersecting volumes. The roof deck is carved in a similar manner. Its material is

envisioned as stamped copper patinaed and rusticated with vines covering its skin, creating a

lush natural presence on the site. Cobblestone and decorative glass details are intended to bring

an old world quality to the formal site.


JIGSAW uses the most basic form, a

cube, and replicates it across three

floor plates revealing gaps, creating

opportunities for light to penetrate

the mass. The stacking of three

independent floor plates is revealed

with a slight rotation from floor

to floor, creating overhangs

which break the massing and

emphasize horizontality. The skin

is unresolved but a series of solid

and void boxes could be imagined,

allowing privacy or protection from

light in some spaces, while others,

completely exposed. A courtyard

is exposed simply by removing

boxes from its core.

4 5

JIGSAW BLOCK

BLOCK is by far the

most stark, experimenting

with solid, void, and

their proximity, creating

overlapping volumes. The

large voids create space

which can be used as

courtyard, garden or patio

overlapping interior living

areas. In some cases the

volumes are like tunnels

making their way from

one side of the house to the

other. In other cases, they

reveal themselves only to

the sky.

6

STACK is intended to be perceived

as a continuous ribbon which uses

itself to stack and create structural

simplicity. The presence of the

mass on entering the site is the most

powerful due to this stacking effect.

Its center is carved away entirely

allowing light to fill the mass, creating

a space shaded from the afternoon

sun and a form perceivable from

the interior. The central courtyard

space then becomes a focal point

from the interior of the house. The

form reduces its own mass in order

to occupy the most extreme height on

the site and therefore capturing the

most extreme view of the landscape of

all the concepts.

STACK


FIELDS2010-CurrentBudget: $500,000Responsible for all aspects of project’s design, rendering and drawing

Consisting of five retail storefronts and four

residential apartments, the Cheerio was a

dilapidated building built in the 1930’s. The

design blends modern detailing with the existing

historic context including new signage and

fenestration.

The interior planning allows for optimal storage

in an open studio apartment. Reclaimed

Maple parquet floors are installed as both floor

and counter top, wall base, window and door

trims. Pocketing doors allow for optimal spatial

efficiency. Detailing is minimalistic allowing

wood and drywall to meet without reveals.

THE CHEERIO


L D A A r c h i t e c t s


2013LDA Architects2 Week CompetitionResponsible for Revit model, renderings and entourage

LARCHMERE LOFTS

The proposal for the 60 unit housing project was to integrate materials used in the

neighborhood while maintaining a contemporary aesthetic. A combination of

metal, brick and wood are used to create a layered facade. Operable

windows and balconies add to this effect. Storefront glazing

shifts from in-board to out-board at each floor adding

depth to the facade.


2014LDA architectsBudget: 18,000,000Responsible for project management, Revit model and renderings

PATTERN STUDY

BOHN TOWER

The brutalist tower has been occupied by CMHA’s low income housing tenants since the 1960’s

and had begun to show its age. Spalled concrete was repaired and resealed, lighting and signage

added to accent the original striated concrete panels. Interiors were completely gutted and updated

with LED lighting, sealed concrete floors, wood accents and bright colors. The lobby, shown here, is

proposed to have a dramatic ceiling which utilizes the existing structure’s 20’ first floor ceilings but

dives down to conceal its infrastructure.


2014LDA ArchitectsWinning competition entryResponsible for project management, Revit model, planning and renderings

The renderings shown here were generated in Revit for the

purpose of schematic design. The project consists of nearly

70 apartment units and was designed to optimize lake views

and density. The renderings were part of a study looking

at several material options. Construction is anticipated this

year.

3219 DETROIT


LDA Architects 20131 week competitionResponsible for design, planning and renderings

The concept is based on The Royal Crescent, a series of thirty row houses in England. The sites layout

is designed to minimize internal streets and provide parking in isolated areas as, a way to maximize

park space. Buildings are tallest towards the South to allow views to the lake across the gradually

sloping site. Each curving form has a subtle shift to create balconies for about half of the units where

direct access to park space is not available at grade. Some existing infrastructure from the original

mattress factory is left intact to be reclaimed as up-scale condominiums, restaurant and retail .

OHIO CITY MASTER PLAN

Housing Types

2 story condo

2 story condowith penthouse

Crbu inspiredunits stacked1st floor flat

2 story condowith penthouse


I n s t a l l a t i o n s


JUST BREATHE

Spring 2015University of MichiganMaster of Science: Digital TechnologiesCapstone Project

JUST BREATHE is a digital

prototyping experiment which

uses the inflation and deflation of

fabric to surprise and transform

space. The project uses motion

sensor (web-cam) which translates

movement to an arduino which

communicates with MAX msp.

This controls a series of solenoid

valves, pushing air in then

sucking air out through the use

of the venturi effect. The project

combines this with light and

sound to create fully immersive

space.


Within the heart of the space, volume is difficult

to perceive. As the space changes shape you are

left to question your understanding of the physical

constraints of space.

JUST BREATHE

Light pulses, transforming the

seemingly opaque.


2681 pieces of reclaimed parquet floor

RGB

2011FIELDS

Collaboration with Dru McKeown of TOI StudioResponsible for the design and construction of the red and blue room

and overall concept / coordination of spaces, lighting and sound

RGB was conceived as a full immersion of the senses. All three rooms change shape, function,

color and sound. The red room played thick-textured house music while the blue room played

organic soundscapes. The green room collected small amounts of sound from both. Rhinoceros

documentaries were projected on the ceiling installation, completed by Jason Turnidge. The red and

blue room were collaboration between Dru McKeown and myself. The event brought close to five

hundred people through the otherwise vacant building for one evening. The blue room is comprised

of over 2500 pieces of maple reclaimed from a racquetball court. The arch transforms within the

space from flat to arch, symbolizing a dichotomy in architecture today, between computer generated

forms and those of the past, contrasting the steel lintels used to support the existing storefront. For

the event, a yogi performed behind a veil symbolizing the life returned to the old structure.

red room

blue room

green room


Binoceros was a construction board-up designed to reinvigorate the Gordon Square historic landmark

district and bring attention to the “Cheerio” property under redevelopment. Plywood was perforated

for the purpose of allowing daylight to penetrate the facade during the ongoing construction. The

name comes from the binary code applied to the skin and the pink rhinoceros named Cheerio. Morse

code is painted and perforated with the phrase shown on the left by Henri Lefebvre.

BINOCEROS

2011

FIELDS

collaboration with Dru McKeown of TOI Studio

Responsible for design and construction

Products and Digital Prototyping


Fall 2014University of MichiganMaster of ScienceDigital Technologies3 week project

Digital Project is used to script a single object across the surface,

algorithmically manipulating each object to meet predefined parameters.

Yin and Yang explores the dichotomy of rigid and soft form balancing light

and dark across the surface.

YIN AND YANG


decrease density decrease density

add trussing decrease density

3

Fall 2014University of MichiganMaster of Science: Digital Technologies3 week project

The project uses Digital Project to script

various textures as line. The robot is

then used as a prototyping tool. As

shown in the drawings here, several

variations in both density and depth

were studied to test the capacity of both

scripting and robotic bending. The

bending process has its own series of

angle constraints which dictated the

process significantly.

ROBOTIC BENDING

decrease density

decrease density


KINEMATIC 3D PRINTED LIGHT

Winter 2015University of MichiganMaster of Science: Digital TechnologiesOne Semester ProjectTwo person team using Digital Project and SolidWorks

The project investigates the potential of kinematics in 3D printing for the purpose of reducing a

printed volume and eliminating assembly required for other manufacturing techniques. The top left

image shows a series of test models leading up to the final shown in the remaining photographs. The

test models are used to confirm tolerances and look at the application of kinematics through folding,

weaving, coiling, telescoping and pivoting. The final model uses a series of pivot joints which scissor.

Each scissor has a fin which overlaps the adjacent, making use of ABS plastic’s naturally translucent

aesthetic.

Winter 2015University of MichiganMaster of Science: Digital TechnologiesOne Semester ProjectTwo person team using Digital Project and SolidWorks

The project investigates the potential of kinematics in 3D printing for the purpose of reducing a

printed volume and eliminating assembly required for other manufacturing techniques. The top left

image shows a series of test models leading up to the final shown in the remaining photographs. The

test models are used to confirm tolerances and look at the application of kinematics through folding,

weaving, coiling, telescoping and pivoting. The final model uses a series of pivot joints which scissor.

Each scissor has a fin which overlaps the adjacent, making use of ABS plastic’s naturally translucent

aesthetic.


2012-2013FIELDSDesigned and built furniture

Pictured here are a few furniture, lighting and sculpture

projects I built over the course of two years while living in a loft

apartment in Cleveland Ohio. Working with various found and

industrial materials, I crafted nearly every piece of furniture in

my apartment, from a rebar table to plaster lights, bookshelves,

hanging cabinets, a driftwood sculpture, kitchen island and a

walnut bed.

FURNITURE


2013f i e l d s collaborative

Various objects are used to create a formwork for the plaster light

fixtures. A balloon was suspended by two points to create the desired

shape.

PLASTER LAMPS


SUSPENDED CABINET


Responsible for design and construction with Katie Chew

The cabinet is 10’ long and hangs directly over my kitchen island. The

goal was to suspend the box with cable in a way which would prevent

swing in both X and Y directions, avoid a ceiling fan above and keep a

clear floor space below for the island. To do this, cables were strung, as

if a cat’s cradle continuously crossing in both directions. Although this

effectively prevents swing, the idea did not account from rotation as the

cable wanted to unravel itself, therefore, additional cables were added to

each end. The weight did not distribute evenly and required a vertical

cable at its back for support. Although, the design was compromised, the

aesthetic quality was generally maintained. On entering the apartment,

it has a dramatic presence proportional to the space. The cabinet is left

unfinished with the repetition of pine knots a prominent feature.


2012f i e l d s collaborative Responsible for design and construction

With the idea in mind of making a proportionally similar chair to that above oof rebar, I purchased a pipe bender . It was then used to bend the rebar . Once the shape was complete, it was clear, rebar did not have the strength of the hollow steel pipe and was therefore used as a small table. Bamboo flooring was used as its surface.

REBAR TABLE

RECLAIMED CHAIR

2012f i e l d s collaborativeResponsible for design and construction

The chair was found in the pictured condition and intended for use as an armature to study different materials as infilling substrate . It was also intended as a proportional study for a chair with the intent of making my own . Twine was installed, contrasting the painted steel frame .

2012f i e l d s collaborative Responsible for design and construction

The island consists of two oak crates reclaimed from a local tile distributor . Wheels were installed on the bottom to allow for a flexible space and easy cleaning . The counter is reclaimed from a racquetball court .Consisting of maple, it was sanded and installed on a single sheet of plywood . The edge is left unfinished revealing the original intended use. Finished with the tung oil, the 8’ long counter is used daily for chopping .

BUTCHER BLOCK COUNTER TOP


SUSPENDED SHELVING

2013f i e l d s collaborativeResponsible for design and construction with Katie Chew

The shelving is 10’ long between columns and 200 total linear feet . My girlfriend and I sanded, stained, and assembled the shelving . We were given 500 linear feet of cable, which was used to suspend the shelves . The most inexpensive way we found to support each shelf was to use a ferrule, which was permanently crimped at the precise height each shelf . These locations were marked . Large crimpers were used to set the ferrule in place while the shelving was temporarily supported with nylon straps and ratchets . The shelving is placed tightly against the web of steel columns, eliminating the need for lateral support . Each shelf has six cables with heavy eyebolts at the ceiling, allowing them to support several thousand pounds . A desk rests below the suspended shelving, eliminating any obstacles within the 10’ long desk surface . Mason jars are attached to the underside of the bottom shelf with magnets . The jars provide a useful organizational tool for office supplies . Shown below is the crimped ferrule, left exposed . Cardboard boxes conceal our belongings . Burlap is used as an optional curtain hung from steel pipe which rests on beam flanges.



Responsible for design and construction

Designed with surface modeling scripts for Rhino, the project uses gravity and hundreds

of individual fishing lines to suspend driftwood against itself . The driftwood was handpicked from piles the city accumulates in the spring in an effort to clean the beach.

The Rhino model was used to determine the length required for each fishing line.

They were cut precisely but driftwood was intentionally cut unevenly to create a

texture along the topography . Small hooks were screwed into the ends of each piece

of driftwood, fishing line tied and then all secured to a ring of cable . The ring was then

lifted using a pulley system . Intended to be an experiment and test, it still resides in my

apartment with the intent of expanding on this idea with an installation-sized piece of

undulating driftwood .

DRIFTWOOD SCULPTURE


AROS

The Aros (named for it’s accuracy) spice dispenser was developed through extensive usability testing with the visually impaired, engineering, market analysis, Adams stress analysis and iterative prototyping . Final validation testing was performed and resulted in a price of $20-$25 . The semester long project resulted in a 125 page report analyzing the results . The functional prototype was

made through a combination of 3D printed and laser cut parts .

Winter 2015University of Michigan

Master of Science: Digital Technologies1 semester Project (4 person team)

I was responsible for both computer model and physical prototype


Winter 2015University of Michigan

Master of Science: Digital TechnologiesOne Week Project

Python was used to script the shape

intended as a light fixture. The

Aluminum is waterjet from a flat sheet.

Perforations allow the material to be

folded and assembled. Tabs are included

providing a location to spot-weld and

fully assemble the piece.

CNC MILLING

WATER JET

Winter 2015University of MichiganMaster of Science: Digital TechnologiesOne Week Project

Intended to be the top for an end

table, the project uses walnut as

a medium for experimenting with

various topographies and openings.

The surface was modeled in rhino

and then imported into master-cam

to determine tool paths.

WATER JET


t e a c h i n g


Kent State University CAEDFall 2011First Year Architecture Studio 1Project 1: 2D compositional studiesProject 2: 3D interpretation of 2D composition

FALL 2011

Projects 3 and 4:Exploration of a 5”x5” cube studying

positive and negative space . This cube was then treated as a moment in

time . Expansion of spaces through time were explored formally through

repetition, transition, translation, interpolation, etc .


GREENHOUSEProject two, a greenhouse with classroom facilities, forces students to develop long-span structures into their formal and material concepts . The project below looks at layering the facade to filter light into classrooms. This concept carries the triangulation through to greenhouse zones by dissolving surface and articulating structure .

FASHIONMUSEUMThe class expands on first semester’s emphasis on the abstract by adding program, material and site to project requirements . Project one, a fashion museum, propagates student interest in skin through studying, in this case, woven fabric as expression of facade . The student wove this pattern and placed it between building and external skin, creating a tripartite system . This includes solid - void, fabric, and external frosted glass, diffusing the other layers.

Kent State Architecture CAEDSpring 2012First Year Architecture Studio 2TEACHINGProject 1: Fashion MuseumProject 2: GreenhouseProject 3: Architecture Building and Dormitory

SPRING 2012

ARCHITECTURE BUILDING AND

DORMITORYProject three, below, articulates the difference

between dorm and architecture school through subtle changes in material density and aperture size .

The larger mass is the dormitory . Privacy from the neighborhood is created by providing a dense

external facade, while creating an internal courtyard of glass . This creates a space for communal

activities. Large internal stratifications are contrasted by the small external ones, revealing a complex

system of order defined by an external shell and an internal matter .


a c a d e m i c 2000-2004In the time of physical models, when

dinosaurs roamed the earth and ink

on board was common architectural

nomenclature. Computers were gaining

speed and monitors were two feet deep.


2ND YEARFINE ARTS CENTER

3RD YEARHOLOCAUST MEMORIAL


The integrated design studio

required a team of two design an

office building with all MEP and

structural systems, completing a

construction drawing set along

with full physical model.

4TH YEAR INTEGRATED DESIGN STUDIO


5TH YEAR METHODS AND MATERIALS

s l i t h e r

Slither is a two week investigation into a material condition. In this case it is the simple

overlapping of the 2x2 wood member to create two shapes which like a snake, slither on

the ground becoming one and then dividing again.

5TH YEAR METHODS AND MATERIALS

5TH YEAR, 3D STUIDO MAX ANIMATION

The project was completed as part of a semester long class which utelizes 3D Stuido

Max to animate a cube. The project starts with a cube assembled and then begins to

transform. Elements of weather, sound, material and lighting are all included. The

project was spliced and put arranged with Adobe Premier Pro.


GRAPHIC DESIGN

web graphics

Vitruvious - Alberti comparison

Previous portfolio layout

CD and cover art

T-Shirt design


p h o t o g r a p h y

LANDSCAPES


The goal was to capture the forms of broken-down barns and the occasional silo, a journey I anticipated for over a decade . The trip transformed into a capturing of sunrise to sunset, from Los Angeles to Houston to Chicago, and finally home to Ohio. 10,000 pictures later, I realized I had captured much more than I had planned . I shot what inspired me . This reveals itself in bridges,

roads and freeways, barns, silos, houses, landscapes, both mountain and flatland, billboards, factories, and guide wires . All of these in some way inspire my work . This is not a new discovery,

but perhaps an awakening to the plethora of inspiration to be found .

LANDSCAPES Morning sun breaks over the barns and silos only revealing their shapes, the timeless forms of utility . Much like a painting on canvas, materials express themselves both matted and shimmering . The shadow of a pitched roof blankets a round silo as if permanently etched with its form . Trees without leaves are furry next to a barn and silo . The colors meld into one, rust stained and homogenous . The sky offers the only contrast in the composition.

Each barn was unique but often similar to the others in construction . The next town over might display another vernacular, perhaps remnant from the local builder of an area . Massive corrugations flanked both roof and wall of one barn .

Silos are extraordinary functional objects, built with traditional methods in an honest and brutal way . Stacked block, held together by steel struts supporting a massive amount of thrust from its side, they rise from the landscape as concrete monoliths .

Contrasting colors allow forms to emerge . Billboards without advertisements are like Rothko paintings in white and brown . A white barn stands still in abstraction against the plowed fields.

Stacks of freeways surmount as you pass under their breadth . Their weight is displayed in the shadow they cast, often a rare glimpse of shade in the afternoon sun. Glare off the glass distances the subject, separating inside from out, as if the objects outside were packaged in a high gloss transparent wrapper .

A lattice of steel towers dissolves into the trees rendering natural and man-made indecipherable, while their wires run softly against the sky in all directions .

Blurred landscapes at dusk reveal soft industrial forms of machinery and the repetition of windmills as they turn .

With over 10,000 images, I only glanced at them before dismissing their beauty on returning home . They did not compare with what I had seen but later I realized, in many ways they revealed the spirit of the journey and the land, an honest perspective of the tilted, shifted, reflected and blurred landscapes .

adam rosekelly 2000-2015 100dpi spread2small

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