SELECTED WORKS2011-2014

BRIAN VALLARIO

EDUCATION

04.08 - 06.11 Bachelor of Science in Architecture, with honors Portland State University. Portland, Oregon

08.11 - 05.14 Master of Architecture, with distinction Pratt Institute, GAUD. Brooklyn, New York

PROFESSIONAL EXPERIENCE

09.11 - present Atelier Architecture 64, Brooklyn, NY junior Architect 10.13 - present CUNY City Tech School of Architectural Technology Digital Instructor, 2nd year studio

01.13 - 05.14 Pratt Fabrication Lab cnc operator + metal lab monitor

08.12 - 12.13 Pratt GAUD, Brooklyn, NY Graduate Teaching Assistant, Stephanie Bayard

06.10 - 07.11 The BASIC Initiative, Portland, OR Design Build Teaching Assistant, Sergio Palleroni

09.10 - 01.11 Truecraft Metal Works, Portland, OR Architectural steel fabrication Apprentice

01.07 - 07.07 Hayes Brothers Snowboard Company, Londonderry, VT Fabrication and Graphics

RELEVANT KNOWLEDGE

Highly Proficient in Rhino, Grasshopper, Maya, V-Ray, Maxwell Render, 3Ds Max, AutoCAD, Revit, Adobe Suite, Microsoft Office. Intermediate fluency in C#, MEL, Java.

Strong physical model making skills, and strong knowledge of both analog and digital fabrication : CNC, 3D Printing, and Laser cutting. Proficient in wood and metal working.

HONORS AND AWARDSMay 2014 pratt circle award, pratt institutemay 2014 academic achievement award, pratt gaudmay 2013 published work, inprocess 19may 2012 published work, inprocess 18August 2012 M.O. AND R.Pratt, Jr. ScholarshipJune 2011 George Nakashima Design Build Award Recipient, psuJune 2011 featured work: Materialize Exhibition. AIA Portland

REFERENCES

Philip Anzalone principal, aa64 pa@aa64.netcole belmont pratt fabrication lab cbelmont@pratt.eduTing chin c.u.n.y. studio coordinator tchin@citytech.cuny.eduPhillip Parker assistant chair, pratt gaud ppar1047@gmail.com

BVALLARIO.COMb.p.vallario@gmail.com

908.692.7676

BRIAN VALLARIO

STUDIOS

04_HOME[grown]GOWANUS CANALBROOKLYN, NY

02_REKLESSZIL HQMOSCOW, RUSSIA

05_ELEMENTARYPECK SLIP,NEW YORK, NY

03_MUSEW.SIDE HIGHWAYNEW YORK, NY

01_BETA BUILDINGHUDSON SQUARENEW YORK, NY

RESEARCH

06_CSTMMASS CUSTOMIZATION

BROOKLYN, NY

07_POLLENMATERIAL RESEARCH

BROOKLYN, NY

08_SOFT TOUCHINTERACTIVE MAKING,

BROOKLYN, NY

09_GENERATIVE DWGCODED SYSTEMS

BROOKLYN, NY

stud

ios

01_BIT BUILDING

02_REKLESS

03_MUSE

04_HOME[grown]

05_PECK SLIP ELEMENTARY

In a city where work and life are inseparable - residential, commercial, and public programs are woven together to create a dynamic environment for both the residents and businesses that inhabit the building. West Soho is a neighborhood populated by buildings housing historic forms of communication exchange. The site is surrounded by heavy monolithic structures that serve the needs of an industrial zone. The neighborhood is rapidly transitioning into a residential zone, creating the opportunity for a new type of building to emerge - a building that expresses the future of the site and offers a new way of living, working and being in New York City. Our proposal is a building that sits light and sharp on the urban landscape, a juxtaposition to the existing fabric and a beacon for the future.

Our multi-use building houses a technology center for the monitoring and altering of electronic data and information. This digital hub transitions from various forms of work space to residential units. The traditional material culture that has long occupied the area is replaced with instantaneous information of the digital age through a virtual library for the public.

01_BETA BUILDINGARCH_802_STUDIOcritic_Hina Jamelle / Qian Liuw/ elle white

_EXTERIOR VIEWS

_SUNSET

_entrance

_ENTRANCE LOBBY

ESTCOD

E

ESTCOD

E

ESTCOD

E

_DUPLEX RESIDENTIAL

_UPDATABLE PROGRAM DIAGRAM

_DIGITAL LIBRARY

_INTERIORS

_Section Detail

_Section Detail _facade detail

Located in Moscow, Russia, Rekless is the new headquarters and testing center for ZIL automobiles. ZIL has produced off road military vehicles and armored limousines for the Russian military since the 1950's. The headquarters houses a testing track, digital experience center, vehicle displays, and administrative offices. The track weaves between the interior and exterior of the building, splitting and rejoining to allow for the limousines and off-road vehicles to be tested independently, yet in parallel. The digital experience center hovers in a suspended room in the center of the facilities and immerses the viewer in a completely virtual world of automotive history, technology, and future, while the present machines circle the perimeter.

The facilities are veiled by a steel gridshell, clad in glass and supported by reinforced concrete buttresses. The shell expresses the innovative engineering behind the ZIL automobiles, as well as the secrecy under which the company operates. It also provides a solution for allowing the automobiles to circulate the interior and exterior of the building envelope, while still maintaining conditioned space in necessary programmatic spaces.

02_REKLESSARCH_703_STUDIOcritic_thomas leeserw/ Marsh Lindley + Sean Whalen

_AERIAL VIEW

_1/32 MODEL

_LONG SECTION

_1/4 SECTION MODEL

_EXPERIENCE CENTER

_CROSS SECTIONS

_ENTRANCE LEVEL PLAN

_EXPERIENCE LEVEL PLAN

_WATER RETENTION

_PUBLIC / PRIVATE

_WATER RETENTION

_PUBLIC / PRIVATE

_east elevation

_SOUTH ELEVATION

_TRACK SECTION

_TRACK INTE-RIOR

_EXPERIENCE CENTER

_EXPERIENCE CENTER

_DETAILS

_EVENING TEST-ING

the origins of the museum trace back to a collection of muses for man to observe. it was a place for the mind to wonder and for the visitor to escape from everyday life. the modern art museum has fetishized the object to a point of ambiguity. simultaneously, the modern science museum has inverted the relationship between the viewer and the viewed, reflecting focusing back to the impact of the human on the environment.

muse proposes a hybrid museum - one that acts itself as the object, and in turn reflects focus back on to the visitor. it pulls itself and the visitor out of the city, beyond the edge of hudson. it is an architecture shaped by its environment, and by using light and water it creates a slow but constant internal change that allows the mind to wander and muse over life outside of the city.

the design process involved extensive material research through contemporary manufacturing processes and digital fabrication techniques.

03_Musearch_803_studiocritic_Phil Parker

_SECTION

_SURFACE STUDY _STRUCTURAL STUDY

_MUSEUM DRAWINGS

_AERIAL VIEW _INTERIOR VIEW

_GIS DATA MAPPING _SITE PLAN

_VIEW FROM PROMENADE _INTERIOR VIEW

_MATERIAL STUDY

_VIEW FROM RIVER _INTERIOR VIEW

_QUALATATIVE DRAWINGS

_CNC MILLED MODEL

_MODEL DETAIL

_SECTION MODEL

Brooklyn's Gowanus Canal is dangerously toxic. The high concentration of toxins causes an abnormal growth to emerge from the site. As the building grows, its form resolves itself in response to existing and expected conditions within its environment. It works its way from the river into the existing urban fabric. Existing forces create voids and paths of motion through the mass, weaving it into the site and the city. It's skin adjusts itself to optimize its relationship with the sun - hundreds of pores regulating its intake.

Eventually the growth becomes large enough to become inhabited. A group of humans take it as their own, living and working within the building. The cellular structure of the growth become living units for a single resident. The open cavities become work space, and abnormalities in the structure become community spaces. The intricacy of the form provides for a variety of conditioned and unconditioned spaces, at times dissolving the boundaries between the two.

04_HOME[grown]arch_701_studiocritic_Maria Sieirra

_VIEW FROM BOARDWALK

_FORM GENERATION

_3D PRINT

GROW TWIST LEAN EMBED

.00

.02

.04

.06

.08

.10

_AXON PLAN

_SUMMER WIND

_WINTER WIND

_APRIL

_JULY

_OCTOBER

_JANUARY

_REGULATING SKIN

01_SITE PLAN

_SHORT SECTION

_PHYSICAL MODEL

_UNIT INTERIORS

_LONG SECTION

_3D PRINT DETAIL

_INTERIOR OFFICE _INTERIOR LOBBY

_SECTION detail

_landscape relations

This project explores the possibilites of elementary education in an urban environment. Located on the unique site of Peck Slip - an area struggling to retain its historical significance of the 1800's- this school aims to break both the traditions of the neighborhood as well as the traditions of learning.

The building consists of two parts: an interior volume and an exterior skin. The interior spaces create unique learning environments, using audio and visual stimulation as a means of engaging students. The exterior skin responds to it's immediate surroundings, both environmentally and contextually. A tension is created both between the new school and it's surrounding experience, but also between the skin and volumes of the building itself, questioning the relationships and possibilities of a learning environment.

05_PECK SLIP ELEMENTARYarch_603_studiocritic_Theoharis David

_plan

07_elevations _plan _UNDERPASS VIEW

_STREET CORRIDOR

_SITE TRANSFORMATION

_EARLY CONCEPT MODEL

_EARLY STUDY SKETCH

__MAIN ENTRANCE

_section a

_classroom

_EXPLODED AXON

north elevation

_PLANS _ELEVATIONS

_LONG SECTION

rese

arc

h

06_CSTM

07_POLLEN

08_SOFT TOUCH

09_GENERATIVE DWG

CSTM PROPOSES THE IDEA OF "SOFT OBJECTS". IT IS AN ONGOING RESEARCH PROJECT THAT INVESTIGATES MASS CUSTOMIZATION THROUGH AN EASY TO USE DIGITAL INTERFACE AND AUTOMATED MANUFACTURING PROCESSES. THE RESEARCH HAS PRIMARILY INVESTIGATED CNC MILLED FURNITURE AND 3D PRINTED HOUSEWARES. THE USER CAN EASILY MANIPULATE THE OBJECTS SIZE, FORM, PATTERNING, AND COLOR THROUGH A DIGITAL INTERFACE, AND CAN THEN SEND THE INFORMATION FOR MANUFACTURING DIRECTLY TO A PRODUCTION MACHINE.

THE FLUID AND SEAMLESS COMMUNICATION BETWEEN A USER FRIENDLY DIGITAL INTERFACE AND PHYSICAL MAKING PROVIDES A PLATFORM THAT HAS THE POTENTIAL TO CHANGE THE WAY WE DESIGN, PRODUCE AND DISTRIBUTE GOODS.

06_CSTMMASS CUSTOMIZATION

_VASE MATRIX

_CARBON FIBER / VENEER CHAIR

_WATER TABLE DETAIL

_TABLE VARIATIONS

SOFT TOUCH IS AN INTERACTIVE DESIGN PROPOSAL. USING LEAP-TOUCH TECHNOLOGY, THE USER CAN MANIPULATE PROJECTED GEOMETRIES USING SIMPLE HAND GESTURES. EVERY 10 SECONDS, A SNAPSHOT OF THE GEOMETRY IS TAKEN AND STORED IN A LIBRARY FOR LATER REVIEW. THE GEOMETRIES CAN THEN BE PRINTED AND TURNED INTO DRAWINGS. THE RESULT IS AN ABSTRACTED DOCUMENTATION OF A USER INTERACTING WITH A DIGITAL ENVIRONMENT.

WHILE THE INSTALLATION HAS BEEN EXECUTED ON A SMALL SCALE, RESEARCH IS IN PROCESS TO IMPLEMENT THIS EXPERIENCE INTO AN INHABITABLE, HUMAN SCALE INSTALLATION.

09_SOFT TOUCHARCH_711_CODE + FORMCRITIC: Robert Cervellionew/ dillon hanratty

_LIBRARY SNAPSHOTS

_interactive exhibit photos

_hand gestures

Pollen Patch is an exploration in digital fabrication techniques. It addresses the use of CNC technologies as a means of craft rather than production. The foundations of this project explore possibilities of using the machine for mass-customization purposes by exploiting the capabilities of both software and hardware, drawing on ideas found in game design, manufacturing, and architecture.

In this early prototype, the user can define and modify a pattern to their liking, then control the ratio of solidity/transparency and location of such relationships. In this model, laminated wood and dyed resin are used as two mediums. Once a final digital design is reached, the object is then milled in a 3-step process : a preliminary milling, resin casting, and a final milling. The result is a composite material with a finish only capable by digital means.

09_POLLEN PATCH arch_712_fabricationcritic_Jefferey Taras

_LAMINATED WOOD + RESIN

_SURFACE DETAIL

_EDGE DETAIL

0.00_blend

GENERATIVE DRAWING IS AN EXPLO-RATION INTO RETHINKING THE ARCHI-TECTURAL DRAWING. EACH DRAWING PROPOSES A SET OF RULES, PARAM-ETERS, AND FORCES WHICH ACT UPON THE LINE, AND CAN BE CONSTANTLY MODIFIED AND ADAPTED TO CHANGE THE QUALITY OF THE DRAWING.

THIS RESEARCH HAS GONE THROUGH SEVERAL STAGES:

1_ TWO DIMENSIONAL DRAWINGS

2_ THREE DIMENSIONAL DRAWINGS AND DIGITAL MODELS

3_ DIRECT DRAWING TO PHYSICAL MODEL MAKING USING 3D PRINTING, CNC MILLING, AND LASER CUTTING TECHNIQUES.

THIS RESEARCH ADDRESSES THE GAP BETWEEN THE ARCHITECTURAL DRAWING AND CONTEMPORARY MANUFACTURING PROCESSES, AND PROPOSES A NEW WAY OF THINKING ABOUT PRODUCING REPRESENTATIVE DRAWINGS.

09_GENERATIVE DWGONGOING RESEARCH

_ONION SERIES

_TRIPTYCH SERIES