Architecture portfolio
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Barrett Peterson
Spring ‘13 [p. 4-7]
Spring ‘14 [p.8-11]
Fall ‘13 [p.12-13]
Fall ‘12 [p. 14-17]
Spring ‘14 [p.20-25]
Fall ‘13 [p.26-31]
Daylight AnalysisDaylight Factor
Contour Range: 0.0-15.0%In Steps of: 2.0%
Timber in the City
Saarinen Research
Architectural photography
Net Zero Studio
Design Build
Media Library
Boutique Hotel
Architecture Portfolio
Summer ‘12 [p.18-19]
Barrett PetersonRecent Graduate of the
Masters of architecture program at Iowa state university
Graduated may 2014
P: 515-490-4674E: italia26@iastate.edu
Link to Online portfolio -http://issuu.com/barrettpeterson/docs/
architecture_portfolio
[2-3]
Education
Skills
Experience
Iowa State University Ames, IA Masters of Architecture Graduation: May 2014
Iowa State University Ames, IA Bachelor degree in Community and Regional planning
2011-Present
FALL 2014 - Present
Teaching Assistant Iowa State University
Research assistant Iowa State University
Proficient in Autodesk: CAD, Revit, 3Ds Max, Vasari, Ecotect | Physical Model Making | Adobe Suite: Photoshop, Illustrator, InDesign | Hand Rendering | Microsoft Office: Excel, Power Point, Word | Sketchup | Rhino
Working with assistant professor Rob Whitehead on research pertain-ing to Eero Saarinen's work and construction methods using con-crete, particularly Kresge auditorium through Dulles airport. Gather-ing research, collaborating on possible projects, modeling projects in 3D programs, and graphically displaying information.
2006-2011
2012 -2013
Summer 2012 Prepared studio spaces in anticipation for the following school year. Small design build projects to enhance pin up spaces throughout the Design building. Other general building maintenance and upkeep
Building Administrator Assistant College of Design Ames, IA
ReferencesJason Alread Graduate Advisor, Sci-tech and studio professor
Associate Professor and Graduate Coordinator Architecture
Iowa State University158 College of DesignAmes, IA 50014E: jalread@iastate.edu P: 515-778-4549
Tom Leslie First and second year sci-tech professor
Pickard Chilton Professor and Assistant Professor Architecture
Iowa State University158 College of DesignAmes, IA 50014E: tleslie@iastate.eduP: 515-294-8460
aia, leed AP
AIA
Rob Whitehead
Assistant Professor Architecture
Iowa State University158 College of DesignAmes, IA 50011E: rwhitehd@iastate.eduP: 515-419-8166
First year studio professor, Teaching and Research Assistant for Rob
Taught individual undergraduate lab sessions in architecture science and technology classes. This was a 3 module course which focused on environmental forces/design, material assemblies and detail-ing, and structural forces and systems. Worked with professors Rob Whitehead, Ulrike Passe, and Bruce Bassler.
Recipient of the Design Book award from Iowa State UniversityGPA 3.77
Professor - ULRIKE PASSE
GROUP - GENTINA Patton, Abbie Caldwell, and Erica RihaMOD/RED
Located in the red hook area of NYC, the main goal of this project was to push what wood was capable of Researching modern techniques being practiced in Canada and Europe clt panels were implemented to serve as the main structural components of this project. Research also went into concerns of fire safety and issues with charring of wood at certain thick-nesses.
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2 x 4’s into cross laminated timber panels
CLT panels combined to create apartments
Clt structural cores, and main circulation
Construction process of individual apartment placement adjacent to cores
The Ikea had an extensive influence on this area of Brooklyn as well as the design of our apartment. The placement of the ikea here has created a direct route to Manhattan by way of the ikea ferry, often times bringing people to the store while the rest of the neighborhood is largely neglected and isolated by the expressway.
The concept behind ikea products has informed the construction method behind the cross lam-inated timber tower. Much like Ikea's concept of a flat pack units, the tower consists of individual units that are assembled in the wood workshop on-site then craned into place. These smaller units come together to make up the collective whole.
Process models
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Single loaded corridors allow for the possibility of opening up apartments for cross breezes to flow through. Operable windows above the apartment doors and in the hallways allow resi-dents to control and manipulate these open-ings as they see fit without allowing direct views in or out into the hallway.
An outside public roof deck Hallway in central cores Typical studio apartment
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Eero Saarinen Research Work completed for Professor Rob Whitehead
Top View of Kresge Formwork
Kresge Auditorium on the campus of MIT (1953-55)
After much controversy, many failures, and subsequent alterations Kresge proved to be a semi-nal building in Saarinen’s efforts to marry rational structure with expressive beauty; something that he would later combine in satisfying unity. Kresge was early on in his working relationship with the engineering firm Ammann and Whitney, who would have an increasingly integral role in Saarinen’s designs and help him to shape and combine aesthetic with function.
Process of how formwork was constructed
Formwork was built on top of concrete auditorium
Three exterior walls of bracing
Three exterior walls of bracing
Three exterior walls of bracing
Formwork for edge beamInterior formwork on top of auditorium floor
All assembled formwork with concentric rings in the center
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The images of Kresge and Dulles side by side goes to show the work, thought, and progress made by Eero Saarinen with his collaboration with Ammann and Whitney. Ultimately what this led to was a more efficient construction process with significantly less formwork. When constructing Kresge Saarinen said the goal was to enclose space with the least possible cost; with Dulles his partnership with Ammann and Whitney proved fruitful in their quest for aesthetic and efficiency.
At Dulles Saarinen efficiently married an expressive form that also performed functionally and struc-turally. As a symbol of flight, the swooping concrete ceiling, hung between the angled columns, also happens to be a catenary shape. What this made possible was construction process, the columns first, then a portion of the roof around the columns, and finally hanging cables spanning between which formwork and beams were hung form.
Kresge and Dulles perspective, full formwork
Elevation of Kresge and Dulles, full formwork
Dulles completed cast concrete
Full formwork
Dulles International Airport Chantilly, Virginia (1958-62)
Dart central station
Photography taken on a Nikon d3000 of the dart cen-tral station in Des Moines, IA by Substance Architecture
Professor - Cameron Campbell
The main focus of the design was to first and foremost maximize the passive methods in the design of the building and have different pro-grams serve multiple functions, then incorporate active systems. This building achieves a very ef-ficient form through varying design decisions, which include: Keeping the building tight and reducing the surface area. Orientating the lon-gest face to the south and also maximizing the amount of solar gain through glazing while also including shading devices for summer months, and incorporating a second skin that would cre-ate a thermal buffer in the winter and passive ventilation into apartments in the summer.
Coalesce Mixed USE
The emphasis of this studio was to design a high-ly efficient sustainable building that would take advantage of both passive and active strategies to help reduce energy consumption and produce some of its own. The city of Houghton wanted a mixed use building that included housing, com-mercial spaces, and offices. The site is located in Michigan on the Upper Peninsula near lake supe-rior.
Compact box to reduce surface area.
Process models
Professor - ULRIKE PASSE
GROUP - GENTINA Patton, Abbie Caldwell, and Tuo Ji
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Splitting apartments apart and add-ing office space.
Shifting heights to transition from housing to downtown
Circulation cores added, also serve as solar chimneys
Inside circulation core
Typical apartment unit
For the city of houghton with rich history in copper mining and specific architectural expression, we wanted to design a building that fit into the land-scape of the people and place. The terracotta tied into the predominately brick construction much of the downtown was comprised of. And in the end we came up with a design that fit between the residen-tial and commercial districts as well as the construc-tion methods and milieu of the city.
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View from 7th floor of nearby hotel
The circulation cores of this building were designed to serve multiple functions that would also change throughout the year. Functioning as solar chimneys to help pull fresh air through apartments during the warmer summer months. During the harsh winters the these cores could be closed and function as a way to sequester heat that could be transfered to the thermally massive walls and floors of each unit.
Public plaza and bioswale
This was a collaborative design-build studio focusing on constructing something for the local community. This manifested itself as a mountain bike skills course near Des Moines, Iowa.
Over the course of the design pro-cess smaller groups were formed and were responsible for both the design and oversight of the con-struction on specific sections of the bike park. Certain sections were smaller scale with less intense con-struction methods while others included banked curves, which re-quired wooden pilings to ensure structural integrity.
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Banner bike trails
Existing Panorama
Overall site plan
(B)(C)
(A)
Component drawings (C) and (e) Construction of bike path sections
(B) Banked Corner
(C) and (E) long slope trails
(C) and (E) long slope trails
Professor - Jason AlreadGROUP - ENTIRE ARCH 581 CLASS
ZEAL MiamiProfessor - Jason Alread
GROUP - Micheal Owen, Tony Scotellaro, Miranda Spears, and Dan Fohn
The design for Zeal Miami was in response to many of the other hotels in the surrounding area. Rather than perpetuating the typology of a closed off enclave, the main theme of this was to allow public and hotel guest permeability through the ground floor of the site. To not only enhance the experience of the pub-lic but also the guest; by bringing Miami into the site and the hotel experience.
Much like the hotel rooms, there is a rigid geometry which is used to distinguish space throughout the site. The parti was split east and west with each open and solid area programmed to respond to the city on the West and the Beach to the East.
There are also guest only programs throughout the site and a hierarchy if spaces vertically. This allows guests to experience how much they choose. They have to ability to become fully immersed in Miami or remain autonomous.
Open
Solid
Solid
Open Cafe and Public Plaza
Pools, Lounges, Bars, Access to Boardwalk, and Bungalows
Porte Cochere and Boutique Retail Shops
Conference Center, Sports Club, Lounge, and Night Club
Public Permeability
Guest only Access
150 Rooms, Restaurant, Spa & Sauna, and Pool Decks
Hotel Towers
Retail, Conference, Exercise, and Bar
Guest and Public Pro-grams
Guest front deskGuest mezzanine
Access from Collins and Boardwalk
Public and guest walkway
Retail, Conference, Exercise, and Bar
Landscaped pool area, and public plaza
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The basic idea that drove the de-sign of the rooms was to provide substantial views towards the beach and downtown Miami. So the room was programmatically split in half one side orientated to-wards to city and night, the other towards the beach and day.
This lead to the rooms having two entire walls of glazing with opera-ble shading devices. Much like the glass houses of Mies and Johnson the program of each space was defined and contained within two solids inserted in the middle of the space.
In order to create an elegant and formal feel the color palette was kept to black and white with splashes of color that could be added with furniture. This also accentuates the views out.
Hotel Rooms
Entrance from boardwalk
View from beach
Section perspective of hotel programs
Site plan
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The Restaurant and spa that connected the tow-ers serves as a gathering place or hotel guests. It also breaks up to formality of the rectilinear towers. This break in the overall shape is further articulated through the use of Ipe wood that is also present in the solid enclosure on the ground level.
The two axis on the ground floor was made of a polished granite with a slip resistant coating. This adds to the importance and elegance of the axis which define each space and serve as a way to navigate through the hotel. The axis is an homage to a fashion runway, the red carpet, it is a place to be seen as well as see out; which is why its also elevated from the landscaped open spaces.
On the axis looking East towards the ocean
Restaurant bar
Restaurant lounge
Guest entry with Ipe wood overhead, looking South
View from Bungalows towards the nightclub
Finished physical model
Circulation
Gen. Cric. Stacks
Main Lobby
Cafe
Retail
Large Cinema/AudSmall Cinema/Aud
Lobby
Info/Security Desck
Circulation Services
Work Stations
Reference Collection
General Circulation Stacks
Study/Reading Area
Study Rooms
New Media Stacks
Digi Work Station
Digi Lounge
Restacking Zones
Youth Center
Teen Center
Tech Classroom
Director’s SuiteLibrarian’s Suite
Colection Services
Library Sta� Area
Loading Dock
Mail and Sorting RoomRecycling and Storage Area
Building Operations and Sta� Room
Security O�ce
Library Storage
Storefront Gallery
Gallery O�ce
Main Gallery
Orientation Space
Reference Desk
Restacking Zones
SF Media LibraryProfessor - Jason Alread
GROUP - GENTINA Patton, Micheal Owen
The design for the media library was born out of creating a public building that could be openly seen as public. Not only giving back to the public realm in the downtown area but also carrying this model into the interior and having the programmatic use inform the central atrium space of the media library lobby.
Public to Private programmatic diagram
Network and square footage Relationship
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Financial district
Embarcadero
Fisherman's Wharf
Entry from public plaza North south section through atrium
Perspective from northern approach
The design for the media library was born out of creating a public building that could be openly seen as public. Not only giving back to the public realm in the downtown area but also carrying this model into the interior and having the programmatic use inform the central atrium space of the media library lobby. The program also called for a cafe which we combined with the atrium. The librarian's desk and cafe bar also shared a long space through the center of this space.
The materiality used throughout this project also corresponds to its use. The structure of the building is composed of cast concrete, making up the skeleton of the building. The wood elements are then clad over and located is areas where human interaction takes place (this includes benches the run up the public plaza, strips along the floor in the atrium, and on the operable windows along each facade bar). this material is more tactile and organic better responding to human scale and touch.
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Process models
Final model
This project was also about respond-ing to the location and specific cli-mate within San Francisco. Being on the edge of the embarcadero and on the edge of the financial district, this library would attract attention from transitory visitors as well as perma-nent residents. This is a critical junc-tion in the city. We took advantage of the local temperate climate by incor-porating large amounts of glazing on the buildings exterior. This also al-lowed appropriate light levels in even when foggy.
This was an iterative process, and our group explored many different schemes. We ultimately decided upon one where everything was built around the open atrium, which was an extension of the outdoor public plaza. From this we were able to cre-ate two separate blocks, one to the city and the west, for the stacks and procurement of the media, and the other to the east and the bay was for experiencing that media.
The outdoor public plaza the began on the southern edge of the site continued into the atrium of the library and then through the building exiting the on the northern edge. While this carried the public realm into the interior it also gave the library a grander sense of procession and entry, which is clear in many traditional libraries throughout history. This was thinking about taking that idea of a grand central staircase and seeing what form that should take today and in San Francisco.
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Collection Block
Public Plaza
Reading Block
Lobby
Barrett PetersonP: 515-490-4674
E: italia26@iastate.eduLink to Online portfolio -
http://issuu.com/barrettpeterson/docs/architecture_portfolio
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