andrew conway pedron portfolio

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A. CONWAY PEDRON a CP NEW ORLEANS EVENT SPACE CRITIC: MIKE McKAY & LIZ SWANSON SOLAR DECATHLON CRITIC: GREG LUHAN & HILARY BRYON BOSTON PERFORMING ARTS CENTER CRITIC: ERIC HOWELER LIVE///MAKE AIA INTERNATIONAL COMPETITION ARCHITECTURE CODE CRITIC: THOMAS SCHROEPFER [ULAR] s.u.t.d Pavilions SCHRÖPFER + HEE ARCHITECTS END[eavour’s] GAME CRITIC: WES JONES GSD PLATFORM 4 HÖWELER + YOON ARCHITECTURE (RE)TOOLING GABON CRITIC: BENJAMIN ARANDA Cornell NYCTech MORPHOSIS ARCHITECTS workPLACE ADVISOR: ERIC HOWELER CURRICULUM VITAE

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Architecture Portfolio Harvard GSD M.Arch 1 2013 U. Kentucky CoD BA Arch 2009

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  • A. CONWAY PEDRON aCPNEW ORLEANS EVENT SPACECRITIC: MIKE McKAY & LIZ SWANSONSOLAR DECATHLONCRITIC: GREG LUHAN & HILARY BRYONBOSTON PERFORMING ARTS CENTERCRITIC: ERIC HOWELERLIVE///MAKEAIA INTERNATIONAL COMPETITIONARCHITECTURE CODECRITIC: THOMAS SCHROEPFER

    [ULAR] s.u.t.d PavilionsSCHRPFER + HEE ARCHITECTS

    END[eavours] GAMECRITIC: WES JONES

    GSD PLATFORM 4HWELER + YOON ARCHITECTURE

    (RE)TOOLING GABONCRITIC: BENJAMIN ARANDA

    Cornell NYCTechMORPHOSIS ARCHITECTS

    workPLACEADVISOR: ERIC HOWELER

    CURRICULUM VITAE

  • NEW ORLEANS EVENT SPACE

    UK/CoD THIRD YEAR DESIGN STUDIOCRITIC: MIKE McKAY & LIZ SWANSON

  • MICRO-FIELDS STATIC PLANAR CONDITION

    ERRATIC PLUG-IN WEIGHTED FORCES CONTINUOUS PLUG-IN UNIFIED RESPONSE

  • Using an overriding, abstract view of layering as a catalyst for design, a system of circulation both of and between program elements is set up utilizing a basic diagram which shows the various program elements selected for this house which include a bedroom, living room, gallery, kitchen, public bathroom, and master bathroom. This diagram allows for the different programs to be both circulation themselves as well as destinations in and of themselves, which calls to mind Robert Venturis theory of the both/ and relationship in a complex and contradictory building. Thus, the experience of the space is layered in such a way as to allow for the inhabitant/ viewer to peel through the building as one would through an onion.

    Plug+Play: New Orleans Event SpacePLUG-IN PROGRAMPlug in Program

    Field Responds, Allowing Relationshipsto be established across site.

    Grid acts as a control. Neutralgrid shows everyforce and responsewhich deviates from it.

    Site

  • 21

    3

    4

    5

  • PLUGIN MEDIUM PAVILION

    PLUGIN SEATING ELEMENT

    PLUGIN MARKET PAVILION

    PLUGIN SMALL PAVILION

    PLUGIN MEDIUM PAVILION

    2

    1

    3

    4

    5

  • SUMMER

    WINTER

    EXISTING SITE SUN PATH EXISTING SITE TRAFFIC AROUND SITE

    STOP SIGNSTOP LIGHTYIELD SIGN

    SITE SOUNDSITE LAGOON CONNECTIONSDIAGRAMS SITE

  • PLUGIN VOODOO FESTIVAL PLUGIN CONCERT EVENT PLUGIN NEIGHBORHOOD MARKET PLUGIN DRIVE-IN THEATREDIAGRAMS PLUGINS

    artist compound

    production compound

    VIP area

    grandstandBingo Parlour

    WWOZ stage

    Le Ritual

    Preservation Hall Tent

    Noomoon

    artist area

    Press Area

    Food CourtATMs

    Booths

    artist area

    parking/ concert staging area

    enterance

    African Heritage Tent

    small stage

  • CRITIC: GREG LUHAN & HILARY BRYONCRITIC: GREG LUHAN & HILARY BRYON

    SOLAR DECATHLONU. OF KENTUCKY FOURTH YEAR STUDIO

    SOLAR DECATHLONU. OF KENTUCKY FOURTH YEAR STUDIO

  • 1A-313

    1A-314

    1A-316

    1A-317

    51' - 3 3/4"

    3

    DINING ROOM

    102

    MECH ROOM103

    KITCHEN

    104

    BATHROOM105

    1 2

    BEDROOM

    106

    9

    1' - 8 5/16"

    1' - 7 7/8"LIVING ROOM

    101

    For Deck Plan see:L-100 series

    For Deck Plan see:L -100 series

    2' -

    7"

    1A-315

    7

    A B C D E F

    1

    3

    2

    3' -

    0"

    7' -

    10 3

    /4"

    4' -

    8 7/

    8"1'

    - 2

    1/4"

    5 6

    0' -

    5 7/

    8"4'

    - 3" 1

    A-312

    1A-311

    8' - 0"

    2' - 3 15/16" 11' - 4" 8' - 0" 8' - 0" 8' - 0" 11' - 4" 2' - 3 13/16"

    0' -

    6 3/

    4"6'

    - 11

    "5'

    - 5"

    0' -

    11 1

    /8"

    4

    0' - 6"

    2' - 6"

    2009

    SO

    LAR

    DECA

    THLO

    NCO

    NSTR

    UCTI

    ON

    DOCU

    MEN

    TS02

    JUN

    E 20

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    SHEET TITLE:

    C:\U

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    \Jas

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    op\U

    KY_S

    D_A

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    M_J

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    9.rv

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    Plans-Floor Plan

    BM GL

    09/1

    3/08

    09/1

    3/08

    A 111SCALE: 3/16" = 1'-0"

    1 FLOOR PLAN

    NOTE: FOR ENLARGED PLANS, REFER TO:LIVING ROOM: I-101DINING ROOM: I-111MECHANICAL ROOM: I-111KITCHEN: I-111BATHROOM: I-131BEDROOM: I-121

  • The sky blue house embodies Kentucky's historic and indigenous breezeway house

    designa rectangular building with a central open space that naturally ventilates

    the house on sultry summer days. With photographic images of Kentucky landscapes

    integrated into a series of perforated screens on its exterior walls, a sky-viewing

    ribbon of continuous clerestory windows around the top of each wall, and a selection

    of native plants, the house has a light and spacious feel that captures the beauty and

    spirit of Kentucky's land and people.

    The team's entry is captured and expressed in its architectural design that blends the

    beauty, simplicity, and passivity of various elements of historic Kentucky Vernacular

    and local materials with modern active energy-efficient systems and technologies. In

    short, the house is eclectic and syncretistic, historic and modern; a combination of

    human-made and natural energy sources controllable by the house inhabitants to

    create the desired living conditions for all seasons and the integration of indoor-

    outdoor living spaces.

    SKY.BLUE HOUSE

  • # 10 X .75 SMS PHILLIP FLAT HD. A

    . 25 X 1.5 SMS PHILLIP FLAT HD. A

    # 10 X .75 SMS PHILLIP FLAT HD. A

    . 25 X 1.5 SMS PHILLIP FLAT HD. A

    A-5224

    Aluminum Framed Glazed BIPVRain Screen System

    Single-Axis Tracking PhotovoltaicRoof Rack System withIntegrated Thermal Chimney

    Closed Cell Spray FoamInsulation, Average WallNominal Value = R40

    2 x 4 Staggered Stud ColdFormed Steel Framing with Dual2 x 4 Top and Bottom Plate

    Cold Formed Steel Floor JoistFraming, refer to S-111 ForDetails and Sizing

    A-5202

    3

    Continuous 4 x 4 x 3/8Aluminium Angle

    Continuous 4 x 4 x 3/8Aluminium Angle

    Terne Coated Stainless SteelBox Gutter and Fascia

    SCALE: 1/2" = 1'-0"1 SECTION AT SKIRT WALL

    ----

    2

    Casework

    Dishwasher

    3/8" Snap-in-Place Tongueand groove, LinoleumFlooring w/ Backing Board

    Radiant Sub Floor System, 1 1/8"Nominal Dimension, Refer to M-401for Piping Layout Pattern

    Wall Pocket for Dining Room Table

    0' -

    0"

    0' -

    1 1/

    2"

    2' -

    3 3/

    4"2'

    - 3"

    2' -

    11 1

    /2"

    SCALE: 1/2" = 1'-0"3 SECTION AT KITCHEN CABINETRY

    ----

    3/8" Snap-in-Place,tongue-and-groove, Linoleum

    Flooring w/ Backing Board

    Cold Formed Steel FloorJoist Framing, refer to S-111

    For Details and Sizing

    Radiant Sub Floor System,1 1/8" Nominal Dimension, Refer

    to M-401 For Piping Layout Pattern

    Structural Steel Column, Referto S-111 For Details and Sizing

    D

    Built in KitchenStorage with

    Adjustable Shelving

    3' -

    0 1/

    4"

    5' -

    5 3/

    4"

    SCALE: 1/2" = 1'-0"2 SECTION AT KITCHEN STORAGE

  • # 10 X .75 SMS PHILLIP FLAT HD. A

    . 25 X 1.5 SMS PHILLIP FLAT HD. A

    # 10 X .75 SMS PHILLIP FLAT HD. A

    . 25 X 1.5 SMS PHILLIP FLAT HD. A

    A-5203

    A-5201

    Aluminum Framed Glazed BIPVRain Screen System

    Single-Axis Tracking PhotovoltaicRoof Rack System with IntegratedThermal Chimney

    Closed Cell Spray Foam Insulation,Average Wall Nominal Value = R40

    2 x 4 Staggered Stud Cold FormedSteel Framing with Dual 2 x 4 Topand Bottom Plate

    Cold Formed Steel Floor JoistFraming, refer to S-111 ForDetails and Sizing

    A-5142

    A-5141

    3

    Continuous 4 x 4 x 3/8Aluminium Angle

    Continuous 4 x 4 x 3/8Aluminium Angle

    3/4" Ground Contact ExteriorGrade Plywood

    Terne Coated Stainless SteelBox Gutter and Fascia

    5/16" Thick Cement FiberBoard Rainscreen System w/Sealed Finished Surface,Non-Perforated

    1/2" = 1'-0"4 SECTION AT CHAIR STORAGE

    # 10 X .75 SMS PHILLIP FLAT HD. A

    . 25 X 1.5 SMS PHILLIP FLAT HD. A

    # 10 X .75 SMS PHILLIP FLAT HD. A

    . 25 X 1.5 SMS PHILLIP FLAT HD. A

    . 25 X 1 SMS PHILLIP FLAT HD. A

    .25 X 1 SMS PHILLIP FLAT HD. A

    #10 X .75 SMS PHILLIP FLAT HD. A

    Structural Steel Column, Refer toS-111 For Details and Sizing

    Cold Formed Steel Floor JoistFraming, refer to S-111 For

    Details and Sizing

    Architectural WoodVeneer Casework

    Closed Cell Spray FoamInsulation, Average Wall

    Nominal Value = R40

    Terne Coated StainlessSteel Fascia

    Lowslope, Fully Adhered,Membrane Energy Star

    Reflective White RoofingSystem w/ Cold Applied

    Adhesive @ .74 NominalReflectance

    1' -

    0 1/

    4"

    1' -

    2 1/

    4"

    A-5212

    A-5211

    SCALE: 1/2" = 1'-0"5 SECTION AT BEDROOM BUMPOUT

    F

    # 10 X .75 SMS PHILLIP FLAT HD. A

    . 25 X 1.5 SMS PHILLIP FLAT HD. A

    # 10 X .75 SMS PHILLIP FLAT HD. A

    . 25 X 1.5 SMS PHILLIP FLAT HD. A

    A-5191

    1

    A-5193

    Thermall Broken and InsuatedAluminum Framed Window

    System with Nominal U Value.16, SHGC .18, VT .32

    Structural Steel Column, Referto S-111 For Details and Sizing

    Built In Office with Adjustable Shelving

    0' -

    5"1'

    - 0"

    0' -

    6"1'

    - 0"

    1' -

    0"

    Pre-Engineered Cherry Wood VeneerWall Panel System on 5/8" Gyp. BoardPainted and Finished with Zero-VOC,

    Higher Performance Coating

    2 x 4 Staggered Stud Cold FormedSteel Framing with Dual 2 x 4 Top

    and Bottom Plate

    Closed Cell Spray Foam Insulation,Average Wall Nominal Value = R40

    Vapor Permeable Membrane

    5/16" Thick Cement Fiber Board RainscreenSystem with Sealed Finished Surface, Refer

    to A-215 for Custom Perforation Pattern

    Low Slope, Full-Adhered, 2-plyMembrane, SBS Modified Bitumen

    Energy Star Reflective White RoofingSystem, with Cold Applied Adhesive,

    at .74 Nominal Reflectance

    3/4" Structural Plywood Sheathing

    SCALE: 3/4" = 1'-0"6 BEDROOM SECTION - OFFICE

  • 1A-313

    1A-314

    1A-316

    1A-317

    Single-Axis TrackingPhotovoltaic RoofRack System withIntegrated ThermalChimney

    Fade Resistant, Waterproof,Tongue and GrooveRecycled Plastic DeckingSystem

    TOP OF SOLAR ENVELOPE115' - 8 1/2"

    TOP OF STEEL

    109' - 1"

    1A-315

    A B C D E F

    TOP OF STEEL100' - 0"

    GROUND97' - 8 1/2"

    6' -

    7 1/

    2"9'

    - 1"

    2' -

    3 1/

    2"

  • Fade Resistant, Waterproof,Tongue and Groove Recycled

    Plastic Decking System

    Thermally Broken andInsulated Aluminum

    Framed Skylight Systemwith nominal U-Value .18

    Winter, .17 Summer;SHGC .25, VT .56

    Single-Axis Tracking PhotovoltaicRoof Rack System with Integrated

    Thermal Chimney

    Landscaping material refer toL-104/105 for plant selection

    Thermally Broken andInsulated Aluminum Framed

    Window System with NominalU Value .18 Winter, .17

    Summer; SHGC .25, VT .56

    A-4034

    A-4033

    TOP OF SOLAR ENVELOPE115' - 8 1/2"

    TOP OF STEEL109' - 1"

    TOP OF STEEL100' - 0"

    GROUND97' - 8 1/2"

    A-5143

    6' -

    7 1/

    2"9'

    - 1"

    2' -

    3 1/

    2"

    1 32

    2

    6' - 11" 5' - 5"

    12' - 4"

    3' - 0"

  • BOSTON PERFORMING ARTS CENTER

    HARVARD GSD THIRD SEMESTER CORE STUDIO

    CRITIC: ERIC HOWELER

  • The new Boston Performing Arts Center, located along the Charles River in the historic North End neighborhood is an emblem to the harbor. Through its simple gestural structural diagram, it projects into the harbor, dissolving the reclaimed land at its base and allowing for the integration of the natural marsh habitat which for years had been controlled by manmade retention walls and barriers. The entire building, built along two large mega trusses with program hung from their mass, would act as a sort of suspended puppet, hovering above the water. The two performance halls are laid out in a simple barbell arrangment that optimizes lobby and entry conditions, thus minimizing impact on the ground of the site. Just as a puppeteer manipulates a suspended puppet, the programs of the performance arts center are suspended from a strctural system conposed of a mega-truss and lateral members that connect the mega trusses and provide the line of the roof.

    Boston Performing Arts Center

  • LOADING

    SHOP

    CLASSROOM

    CAFE

    RESTAURANT

    OUTDOOR PERFORMANCE SPACE

    OUTDOOR CAFE

    HARBOR WALK

    CLASSROOMCLASSROOM

    STORAGE

    LOADING

    ENTRY

    INSTRUMENT STORAGE

    WARDROBE STORAGE

    ENTRY LEVEL FLOOR PLAN

    DRESSING ROOMS

    GREEN ROOM

    WARDROBE

    PERFORMANCE STAGE

    LOBBY

    LOBBY

    PERFORMANCE THEATRE

    CONCERT HALL

    CONCERT STAGE

    ORCHESTRAREHEARSAL

    CLASSROOM

    LOBBY LEVEL FLOOR PLAN

    BLACK BOX THEATRE ( BELOW )

    BALCONY LOBBY

    BALCONY LOBBY

    BALCONY LOBBY

    PERFORMANCE STAGEPERFORMANCE THEATRECONCERT HALL

    GREEN ROOM

    WARDROBE

    CLASSROOM

    CLASSROOM REHEARSAL ROOMS

    MEZZANINE LEVEL FLOOR PLAN

  • LIVE///MAKEINTERNATIONAL COMPETITIONAmerican Institute of Architects

  • salvage existing building structure_CREATES GENERIC SPACE GRID

    GENERIC SLAB EQUAL TO NET TOTAL PROGRAM SQUARE FOOTAGE

    ELEVATOR SHAFT VERTICAL STRUCTURE AND RESIDENTIAL SHEER WALLS

    LOAD BEARING FIBERGLASS REINFORCED CONCRETE TOPOLOGIC SHELL

    FACTORY FLOORS AND CATWALKS

    EXTERIOR CURTAIN WALL FACADE

    Industrial Arts Center CincinnatiWithin this era of rapid internationalization, connectivity, and immediate communica-tion, enhanced by the proliferation of web based resources and constantly growing technological interfaces, contemporary life has essentially necessitated a decontextu-alized formality. No longer are people tied to a particular perspective in their domestic life, but rather they are connected via technology to any number of instances of living/ working throughout the world. architecture, however, can hardly be deterministically tied to this degree of fluid connectivity. Rather, it is bound by a particular ground. contemporary culture is Not tied to a common Ground but more of a Shifting Ground, one where environments of responsiveness supercede those of concrete realities. Domestic architecture, in order to be part of the zeit-geist, should reflect this intelligent malleability and mutibility.

    The object of this project is to create a new type of domestic work place that shifts the dialectic of living and working into a new area, one more tied to issues related to connectivity. This would be done at the micro-programmatic scale and more broadly at the macro scale of the urban context, more importantly, issues of contemporary connectivity would allow this project to be an object of cyber connectivity, a kind of living physical facebook. It would be a shifting ground or platform on which the culture of responsiveness and digitaul cultures of habitation could be constructed.

    MAKE!

    LIVE!

  • The interstitial space created by the shifting organizations of program creates a need for a circulation that is not tied to the typical core condition found in many other residential complexes, but necessitates a kind of connective network in the building that ties the user to egress, while also allowing for social connectivity. In order to allow for users to interact, thus enhancing a sort of communal cross polination, walking and extended circulation is introduced rather than hyper efficient elevators as means of vertical circulation. Skip Stop elevator landings and protracted corridors create moments where potential interpersonal interaction, and thus social and professional interactions can be introduced. Similar to Italo Calvino, the shortest distance between two points is not a straight line, but a meandering line of non sequiturs and randomized experiences..

    ENTREPRENEURIAL INCUBATION

    MAKE COMPONENTS

    1 2

    3

    wood shop

    metal shop

    computer lab

    fabrication workshop

    -robotics center

    -fab lab

    administation

    open space below

    open space below

    open space below:

    uSING tHE EXISTING

    STRUCTURAL BAYS

    AND SPACE TO CREATE

    A LARGE OPEN AREA

    FOR PROJECT STAGING

    AND LOOSE COMMUNITY

    EXHIBITIONS/ EVENTS.

    open studio and workshops

    textile studio

  • LIVE COMPONENTSstudio

    LIBRARY

    SLEEP livingbath

    dining

    kitchen

    BATHhousing program12 X UNITS @ 3260 SQ. FT. GROSS

    live 2060 SQ. FT. NET

    468 LIVING

    182 DINING

    210 KITCHEN

    307 SLEEP

    182 lIBRARY

    169 BATHROOM

    WORK 676 SQ. FT. NET

    640 STUDIO SPACE

    36 BATHROOM

  • ARCHITECTURE CODE

    HARVARD GSD FOURTH SEMESTER CORE STUDIO

    CRITIC: THOMAS SCHROEPFER

  • Willets Point, Queens Train Station

    Circulation reacts to crowd densityUnaffected System

    ADAPTABILITY TO TRAFFICCOMPRESSION

    TENSION

    This project was developed within the greater context of a new urbanity at the site of the current rail yard at Willets Point, Queens, New York. The site, famously called the Valley of Ashes in the Great Gatsby, is the site of an industrial no man's land near Citi Field with an accentuated need for intense circulation fluctuation. The train station therefore was developed as a manipulated set of circulatory tracts that shift and change scale depending on the most recent train schedules and utilities, both from the stadium, and from the new urbanity created. Therefore, both event and residen-tial concerns needed to be addressed in dealing with an above ground system that would not provide a barrier condition on the site and would rather create a monu-mental and emblematic paradigm for shifting trends in transportation in the United States.

    The circulatory patterns were observed through various crowd simulation models including game theory, natural observation, lattice gas automota, social pressures, agent based, and fluid dynamics. The resulting paths of flows observed were overlaid on the generic formal condition of platforms along the track as dictacted by the turning radiuses of the Long Island Rail Road. The nodes of social congregation were then seen as loose intersection points that could be formalized and accentu-ated by the addition of vertical circulation to connect the loosely defined first level and the much more structured platform level.

  • [ULAR] s.u.t.d Pavilions

    SCHRPFER + HEE ARCHITECTSWORK EXPERIENCE 06/11-01/12

  • INTERIOR RENDERING INTERIOR RENDERING

  • The architecture of the Singapore University of Technology and Design (SUTD) Pavilions is based on a parametrically designed continuous ribbon, an analogous device used to give visual expression to the integrative curriculum of the new univer-sity. The ribbon weaves in and out of the lobby space, directed by a series of pre-defined nodes, and connects various spaces above and below. Where it passes between the lobbys ceiling and floor, it materializes as one of the six pavilions. The constantly changing geometry of the ribbon leads to a unique form for each one of the structures. It also introduces a meandering circulation to the lobby space. To maintain the perception of the curvature of the pavilions and to add to their structural sound-ness, the design utilizes a system of parametrically derived lateral members. These correspond to the stress densities in the Ribbon at moments of extreme curvature that were computationally analyzed and translated into a seemingly random yet precise placement of the lateral members that is the result of the particular local geometries of the ribbon.

    Singapore University of Technology and Design Pavilions

    VERTICAL RIBS

    BOTTOM TRACK

    TOP TRACK

    HORIZONTAL SPACING ELEMENTS

    RANDOM LATERAL MEMBERS

    A1 POSTER BOARD

    TELEVISION

  • 7A: ATTACH L BRACKETS TO TRACKS7B: STRING WIRE OR RATCHETING STRAPS AROUND COLUMN AND BRACKETS7C: TIGHTEN WIRE OR RATCHETING STRAPS SECURING PAVILION TO COLUMN

    6A: PLACE HORIZONTAL SPACER MEMBERS BETWEEN APPROPRIATE VERTICAL MEMBERS (MEMBERS THAT DO NOT REACH TOP TRACK)6B: ATTACH USING SCREWS

    5A: PLACE TOP TRACK IN GROOVES OF TOP VERTICAL MEMBERS5B: USING SCREWS, ATTACH TRACK TO MEMBERS

    4A:PLACE EXCENTER FITTING INTO PREDRILLED HOLE (HOLE WHOULD BE 50% OF VERTICAL MEMBER THICKNESS)4B: SCREW EXCENTER FITTING SCREW INTO OTHER TOP VERTICAL MEMBER. PLACE DOWELS INTO TOP VERTICAL MEMBER. 4C: APPLY GLUE TO ENDS OF BOTH VERTICAL MEMBERS AND SLIDE THE TOP VERTICAL MEMBER INTO PREDRILLED HOLES IN BOTTOM VERTICAL MEMBER.4D: TIGHTEN EXCENTER FITTING SECURING MEMBERS.

    4A 4B 4C

    4D

    1A: CNC ROUTE VERTICAL MEMBERS

    2A: ATTACH TRACK WITH SCREWS

    3A: USING MULTIPLE PEOPLE, STAND PAVILION UPRIGHT

    8A: SLIDE RANDOM LATERAL MEMBERS INTO PRE-CNC MILLED HOLES IN VERTICAL MEMBERS. THE MEMBERS CORRESPOND TO DATA SHEET AND NUMBERING SYSTEM8B: TRIM LATERAL MEMBERS AT ENDS.8C: SECURE EVERY 4TH HOLE WITH SCREW THROUGH RANDOM LATERAL MEMBER AND INTO VERTICAL MEMBERS

  • END[eavours] GAME

    HARVARD GSD FIFTH SEMESTER OPTION STUDIO

    CRITIC: WES JONES

  • SHUTTLE ARCHITECTURE

    EXHIBITION SPACE

    ARCHITECTURE

    CONFLICT ARCHITECTURE

    To call architecture a game is to acknowledge a particular approach to the discipline. Beyond evoking an attitude of play and cunning, thinking architecture asgame mobilized a spectrum of strategies and operations such that they becomecritical and discursive. In researching the many dimensions of gameness in architec-ture we have consulted historical, philosophical and architectural sources in anattempt to pin down the meaning of game and the intention of games in architec-ture. Through the identification of the key characteristics of games and theorizingtheir translation into architectural terms, we have proposed a preliminary set of rules which might guide the practice of architecture as a game. This approach proposes an evolving structure which, like any game, is activated by the strategies and tactics of the individual player. -Studio Manual

    Within the context of the studio taught by visiting critic Wes Jones, the project, a museum for the Space Shutlte Endeavour in Exhibition Park, Los Angeles, was to be thought of as a game . Games are distinguished as much by their rules as by the play those rules enable or circumscribe. In architecture the more important rules are not inherited or legislated, but discovered on the fly, in the feeling of rightness that settles over the project as it is refined during the course of design. The game s natural regard for thinking and cleverness will be operationalized through willful, managed design that explicitly articulates relevant issues regarding the choice of games, their rule sets and criteria for success (and modes of failure), as well as the strategies and tactics of play.In the case of this design, the primary game played was one of historical interaction and juxtaposition as a means of preservation and additive architectural integration.

    Following a midterm twist by Wes Jones, a second shuttle, the Russian shuttle Buran, was added to the program, thus creating a duality game that was integrated into the original historical reaction game. This created a new set of relationships that allowed for a potential new reading of the building in the circulation that unveils and reveals through lighting, structure, and color.

    HERMAPHRODITUS: MUSEUM FOR SHUTTLES

  • RENOVATION OUTGROWTH ADDITION

  • OBJECT A

    OBJECT B

    CIRCULATION INFORMS DUALITY

    =

  • Based on a system of controlled recusive growth with the shuttle acting as a primary catalyst, the macro form of the exhibition space and the more hyper specific and predetermined form of the shuttle start to subdivide and create a cellular system of spatial conditions within the exhibition space. In this way, not only can the exhibition space act as an object that relates to site/ context conditions but can also be directly formally relative to the form of the space shuttle and program can organically be derived within the shape of the exhibition space itself.

  • GSD PLATFORM 4HWELER + YOON ARCHITECTUREWORK EXPERIENCE 07/11-03/12

  • The Platform 4 exhibiton design compliments the publication of the Platform 4 book, and showcases work from the 2010-2011 academic year at the Harvard Graduate School of Design. The plywood tables serve as a modular display surface for the physical models. Each table is made of four 4X8 sheets of plywood with no material waste. Light fixtures with adjustable goosenecks allow users to refocus the attention to the models. Colored lights under the tables correspond to the exhibition themes and create subtle zones within the exhibtion.

    GSD Platform 4 Installation at Gund Hall

  • Parametric Operations

    Landscape/Vault Integration

    Single Vault Creation

    Inherent in the parameters of airport functionality is the need to eliminate all traces of ecology. Sites mustbe absolutely flat, devoid of standing water, and lacking vegetation, which can attract unwanted wildlife. Not only do airports require a lack of ecological systems, spatially they require extremely expansive horizontal space, displacing large amounts of both ecological and urban program when sited close to a city. While local government explored new sites for a larger future airport, we proposed maintaining the current location and adding a second runway that is raised above the ground level. This allows for the airport to remain proximate to the city without sacrificing the ecological and urban program that most airports displace.

    By elevating the runway and airport operations, we are separating airport functionality from ecological and urban phenomena that commonly interfere with airport operations. Elevating the airport program allows better hydrologi-cal, vegetal, and wildlife control within the airport site, while also allowing ecological and urban program to exist beneath and around the runway without interfering with standard airport operations.

    Symbiotic Vaulting: Libreville Airport

  • Cornell NYCTechMORPHOSIS ARCHITECTSWORK EXPERIENCE 08/2012-02/2013

  • GRAND STAIRS

    LOBBY

    ATRIUM LOUNGE

    PRE-FUNCTION FOYER

    SEMINAR ROOMS

    LECTURE HALL

    GALLERIA

    ATRIUM

    READING LIBRARY

    MULTI PURPOSE ROOM

    MEZZANINE

    CAFE

    RETAIL SERVICE

    COLLABORATION

    COLLABORATION

    HUB LOUNGES

    MICRO-KITCHENS

    PROJECT ROOM

    LOCKERS

    HUDDLE ROOMS

    HUDDLE ROOMS (GALLERIA)

    HUDDLE ROOMS

    SWING SPACES

    WORK ZONE C

    WORK ZONE A

    WORK ZONE B

    SMALL CONFERENCE ROOMS

    TELEPHONE PODS

    TELEPHONE PODS

    SMALL CONFERENCE ROOMS

    LARGE CONFERENCE ROOMS

    PRINT/ COPY NICHES

    SWING SPACES

    MASTERS STUDIO

    GALLERIA

    ATRIUM

    Project Manager- Jean OeiProject Team: Thom Mayne, Jean Oei, Ung Joo Scott Lee, Hunter Knight, Nicholas Fayad, Cory Bruegger, Conway Pedron, Simon McGownRole: Architectural Intern- Diagramming, Program layout, Site Plan, Wall Sections

    "There is no modern prototype for a campus. You have to have a completely different model which has to do with transparency and exposing social connectivity and breaking down the Balkanization that happens departmentally." -Thom Mayne

    Cornell Roosevelt Island Tech Campus

  • 03

    02

    01

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    pv

    1 ATRIUM

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    3 CAFE

    4 GALLERIA

    5 AUDITORIUM

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  • LOWER FOYER

    LECTURE

    SEMINAR ROOM SEMINAR ROOM

    W M

    E

    E

    CAFE

    CAFE

    OUTDOOR CAFE

    PRE-FUNCTION FOYER

    LOUNGE

    RECEPTION

    J

    MASTERS STUDIO

    WM

  • ATRIUM

    CONFERENCE

    MICRO KITCHEN

    W M

    E

    E

    J

    CONFERENCE

    CONFERENCE

    HUB LOUNGE

  • workPLACEHARVARD GSD MASTERS THESISADVISOR: ERIC HOWELER

  • Technology, particularly that of mobile computing, has become increasingly ubiqui-tous in contemporary culture. This has had a substantial impact on architecture and urbanism, generally redefining their various dichotomies and programmatic separa-tions without dramatically changing the physical nature of this built environment. Workspaces, and really the entire nature of work today, has been particularly affected by these changes, though the design of workspaces has not been considerably changed. While technology has become increasingly mobile, embedded, and augmented, specific places for work have been replaced by remote work and home offices, creating a sort of slacelessness. To counter this, a reimagining of the contempo-rary typology of the tech campus and tech incubator could produce a place for business that fosters innovation and discovery by exploiting and enhancing social and programmatic synergies.

    workPLACE \\\ Ubiquitous Confluence

    TAYLORISMtraditional cellular offices BrolandschaftSTREAMLINED STRUCTURALISTinverted urbanism

    cube farmaction office open sourcestreamlined MONUMENT virtual officegalleria

    PROTOTYPE

    PROTOTYPE

  • 5 level

    7 level

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    1 level

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    ROOF LEVEL

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    mirror plane

  • Spaces between spaces, or areas of confluence, have the most potential for social augmentation. In existing office spaces, recognizing these is a matter of studying the preexisting conditions. In the formation of new buildings however, one need only look at conditions that would naturally occur in building. Necessary programs and spaces, such as vertical circulation, bathrooms, and lobbies can be emphasized and arranged in a way that would dramatically increase their effectiveness as a place of confluence. Rather than compressing these spaces into tightly knit cores to increase their absolute efficiency or shoved to the periphery of buildings, these spaces should become the heart of the building, weaving themselves into the fabric of the social spaces and becoming the primary spaces of social engagement, particularly as everybody has to use these spaces.

    OPEN PARTY AREA

    pop up store

    DEMO DAY SEATING

  • WORKSPACE

    EDUCATIONPROF.

    SERVICES

    Size: 5-12 People

    INCUBATORStart up

    COST or STOCK

    INCUBATORENTREPRENEUR

    COST

    Size: 1-3 People

    Size: 10-30 People

    INCUBATORCOMPANY

    community

    WORKSPACE

    EDUCATIONPROF.

    SERVICES

    community

    WORKSPACE

    EDUCATIONPROF.

    SERVICES

    community

    STock (Usually 10%)

    START UP

    Feasibility StudiesResearch and Development

    Research and DevelopmentStart Up PlanningBusiness Plan

    PRE-INCUBATION

    Business Development PlanIncubation Services

    INCUBATION

    Growth Preparation ServicesInternationalization

    ACCELERATION

    GRADUATION

    SUCCESS!

    INCUBATION SPACE

    SMALL BUSINESS DEVELOPMENT CENTERS

    PERSONAL LOCATION

    Initial IdeaPrototype

    REVEN

    UE

    TIME

    early stage

    break even

    1st

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    mezzanine

    valley of death

    ipo

    vcs, acquisitions/ mergers &

    Strategic Alliances

    REVEN

    UE

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    break even

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    vcs, acquisitions/ mergers &

    Strategic Alliances

    REVEN

    UE

    TIME

    Angels, fff

    seed capital

    break even

    1st

    2nd

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    mezzanine

    valley of death

    ipo

  • INTERACTIVE SCREEN

    Low privacy desk

    Workstation

    High privacy desk

    Low privacy desk

    workstation

  • L.I.C. INNOVATION CAMPUS queensboro bridge

    43rd street

    MANHATTAN: U.E.S.

    The sprawling gigantism of the twentieth-century city, that was the leading inexora-bly to megalopolis and thence to necropolis, the death of the city. (Mumford, 1960: quoted in Wilson, 1995 p. 147)

    The very boundaries between the various parts of the city would be brought into direct contact with each other in very complex networked ways. Given the globally perva-sive nature of this new type of urbanism, it could even be inferred that cities boundar-ies would be obliterated, creating an absolute megalopolis. This super urbanism, or as Mumford considers is, dead urbanism, would be so complex and inundated with various networks, physical and digital, that its very character as a city in the traditional sense would be suspect.

  • Rhinoceros, Autocad, Adobe Photoshop, Adobe Illustrator, Adobe InDesign3d Studio Max, Revit, Grasshopper, Adobe Flash, Adobe After EffectsDigital Project, Microstation, Rhinoscript, Ecotect SketchUp, Maya, Solid Works, Processing, Generative Components

    SKILLS

    Fluent: EnglishProficient: French

    Basic: Mandarin Chinese, Italian

    LANGUAGES

    +++++++

    +++

    Harvard University

    Cambridge, MA Masters of Architecture I

    [email protected]

    Elizabethtown, KY 42701209 Deer Run Way

    www.aconwaypedron.com270.300.3745

    Graduate School of Design

    University of Kentucky

    Lexington, KY Bachelor of Arts in Architecture

    Magna Cum Laude Graduate with Honors

    Fall 2009-Spring 2013

    Fall 2004- Fall 2008

    EDUCATION EXPERIENCE

    A. CONWAY PEDRON

  • Shroepfer + Hee Cambridge, MA/ Singapore, Singapore

    Designer

    Harvard University Graduate School of Design Cambridge, MA

    Teaching Assistant- First Year Design Studio- James Khamsi

    Harvard University Graduate School of Design Exhibitions Cambridge, MA

    Research Assistant- Platform Exhibition

    Zeybekoglu/ Nayman Associates Bejing, China

    Architectural Intern

    Lucas/Schwering Architects Lexington, KY

    Architectural Intern

    Skidmore, Owings, & Merril LLC

    Chicago, IL Architectural Intern

    Lagence Frdric Borel Architecte Paris, FR

    Architectural Intern

    Lusk Design Group Vine Grove/ Ft. Knox, KY

    Architectural Intern

    Howeler Yoon Architects Boston, MA

    Architectural Intern

    Morphosis Architects New York, NY

    Architectural Intern

    EMPLOYMENT

    TACNolaNolaNola2

    SolarDecathlonPerfArts CenterLiveWorkWillets Point TrainULARWesJonesWesJones1WesJones2

    PlatformGabonGabon-01Gabon-02Gabon-03Gabon-04Gabon2-01Gabon2-02Gabon2-2-01Gabon2-2-02Gabon2-2-03Gabon2-2-04Gabon3-02

    MorphosisThesisThesis1Thesis3Thesis4