Draft portfolio _ Final

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<ul><li><p>Ryan B. LewandowskiB.S. Arch, University of Virginia, 2008</p><p>M. ARCH I - Advanced Placement </p></li><li><p>Ryan B. Lewandowski83 Fort Greene Pl. Apt 2</p><p>Brooklyn, NY 11217</p><p>rblewandowski@gmail.com434.610.8508</p></li><li><p>ARCH 402</p><p>ARCH 541</p><p>ARCH 302</p><p>ARCH 301</p><p>2x3.5 Lamp</p><p>IATH </p><p>Photography</p><p>urban design</p><p>masterplanning</p><p>building</p><p>academic</p><p>professional</p><p>personal</p><p>10</p><p>materiality</p><p>parametric</p><p>fabrication</p><p>graphics</p><p>humanitarian</p><p>experimental</p><p>experiential</p><p>sectional</p><p>object</p><p>extent inquiry method environment</p><p>bionic</p><p>Project Index</p><p>1</p><p>9</p><p>3</p><p>4</p><p>5</p><p>2</p><p>DIS Copenhagen6</p><p>7</p><p>8</p><p>Last Supperaural garden installation</p><p>community development center</p><p>peruvian transportation hub</p><p>parametric rapid prototyping</p><p>student study center</p><p>light &amp; art kunsthal</p><p>siggraph convention pavilion</p><p>business card lamp shade</p><p>Ennead Architectsnyu langone medical center</p><p>personal observations</p></li><li><p>Home to the outdoor music area and animated by visualizations from animators and filmmakers, the Aural Garden featured an architectural installation designed and built by Ryan Lewandowski, Daria Supp, and Lili Trenkova. One of the new programs at the 5th annual Last Supper Festival, the canopy installation defines a new and more intimate, yet open space within the canyon-like alley of the outdoor area at the 3rd Ward. The black-lit 3000ft of cotton string weaves a net-like surface that shifts in form and definition as the perspective changes. While basing itself off the hyperbolic surface that is created with the spandex shapes suspended above, this fluctuation creates an energy in the space that plays with the music and dance atmosphere, creating a synthesis of the mediums and demonstrating the transformative effects of architecture. </p><p>Last SupperAural Garden Installationw/ Daria Supp &amp; Lili TrenkovaNew York, New York Fall 2010</p><p>ryan b. lewandowski / personal</p></li><li><p>ryan b. lewandowski / personal</p><p>install day 1</p><p>install day 2</p><p>install day 3</p><p>I was the co-creator, lead designer, and coordinator for this project. The on-site fabrication of the installation occured the few days leading up to the Last Supper event, with many co-workers and friends coming out after work to volunteer each night. As expected, the effort of weaving string ten to fifteen feet above the ground proved to be an interesting challenge. </p></li><li><p>ryan b. lewandowski / personal</p><p>After the desired black light effect was conceived, a series of material tests were required to find a string that reacted to black light. A surprisingly diffcult effort, we tested poly-twine, clothesline, nylon rope, and others, until we discovered a locally made cotton mason line that reacted with the perfect glow.</p><p>The installation has since become a permanent fixture at the 3rd Ward in Brooklyn and was featured in the December 2010 issue of Specialty Fabrics Review.</p></li><li><p>ryan b. lewandowski / academic</p><p>Located in the culturally segregated neighborhood of Crown Heights, this multi-function design problem was aimed at understanding a complex past in order to address its current and future potential. Looking to the surrounding urban context, I found inspiration in the unifying visual rhythm of the neighboring brownstones. By reflecting this rhythm at the scale of the buildings program, the intent of the design is to establish a unifying dialogue between community members through its use.</p><p>ARCH 301 ARTS &amp; COMMUNITY DEVELOPMENT CENTER Associate Professor William Williams Fall 2006Brooklyn, NY </p></li><li><p>A community kitchen and food co-op are the primary programmatic drivers within the design. Through the personal act of cooking and having a meal together, stories and lessons are shared creating a cross-cultural dialogue that brings the different local cultures together. The table for cooking and eating becomes a symbol for this interaction and is carried throughout the rest of the building to facilitate its many other functions.</p><p>ryan b. lewandowski / academic / 2006</p></li><li><p>ground floor plan first floor second floor third floor fourth floor fifth floor</p><p>ryan b. lewandowski / academic / 2006urban rhythm site plan</p></li><li><p>ryan b. lewandowski / academic / 2006</p><p>3/16th scale laminated basswood and chip model18 x 18 x 22</p><p>Taking advantage of the sectional nature of the design, a physical model was created using laminated layers of chipboard and basswood. The building was constructed in removeable units of a structural band and its accompanied programmatic ribbon to create an interactive viewing experience that allows one to dissect the internal workings of the building.</p></li><li><p>Working in collaboration with COPESCO, the World Bank, and the city of Ollantaytambo, our semester studio was the beginning of a multi-year effort towards studying the threats from increased tourism in the Sacred Valley. The ancient town of Ollantaytambo sits at a critical juncture between the bus and rail system for tourists en route to Machu Picchu and faces growing international economic pressures. Our work intended to propose a schematic master plan and new train station that accommodates international interests and local needs while preserving the towns physical history and cultural ideals.</p><p>ARCH 402MASTER PLANTRAIN + BUS STATIONAssociate Professor Dean Abernathy Spring 2008w/ Scott Mitchell &amp; Sebastijan JemecOllantaytambo, Peru </p><p>ryan b. lewandowski / academic</p></li><li><p>(1:1000)10m 50m 100m</p></li><li><p>personal experience</p><p>pisac</p><p>calca</p><p>chinchero</p><p>cuzco</p><p>urubambaollantaytambo</p><p>machu picchu</p><p>ryan b. lewandowski / academic / 2008</p><p>The devised masterplan proposed relocating the rail line to the opposite side of the river, allowing a new road for the heavy traffic to take its place. With the new rail station located down river near the more modern town of Rumira, the traffic can be rerouted around Ollantaytambo instead of through it and encourages future growth to occur away from the historical town center. </p><p>During our time in Ollantaytambo, we were encouraged to explore new methods of recording our experience. Focusing on the sounds of traffic, water, and music, I recorded numerous video clips throughout the town. This audio experience was then translated into a diagramatic timeline of my trip, inspired by the quipu, a traditional Incan method of record keeping with knots.</p><p>sacred valley diagram</p><p>enlarged</p><p>quipu street sound diagram</p><p>tourist route</p></li><li><p>proposed train route</p><p>rumira</p><p>proposed station</p><p>existing station</p><p>ancient city center</p><p>proposed pedestrian path</p><p>existing rail line</p><p>existing bus route</p><p>proposed bus route</p><p>ollantaytambo master plan</p></li><li><p>ryan b. lewandowski / academic / 2008</p><p>Designed in collaboration with Scott Mitchell and Sebasitjan Jemec, we sited the train station down river from the town to establish a new node for commercial activity, alleviating traffic through the sensitive Incan sites. Reminiscent of Incan terracing and the local market vernacular, the station is spatially organized by a series of rammed earth walls and glu-lam structures to create a low impact design that integrates itself into the surrounding landscape. The addition of a wide cathedral like stair running the length of the station becomes a place of interaction and provides an open connection to the neighboring marketplace.</p><p>block game siting studiesgame 01 game 02 game 03 game 04 game 05</p></li><li><p>broken roof</p><p>structure</p><p>public amenities</p><p>walls</p><p>terrace</p><p>+</p><p>+</p><p>+</p><p>+</p></li><li><p>ryan b. lewandowski / academic / 2008</p><p>bus terminal</p></li><li><p>train station</p></li><li><p>The intent of this course was to learn the underlying principles of parametric modeling and various methods to fabricate these ideas quickly and efficiently. In utilizing Microstations Generative Components, we studied a myriad of pattern making, fractal designs, and complex surfaces. These studies developed into a personal exploration of wrapping a double sin-curve surface around a cylinder. Once acheived, I created a representation through laminating multiple sections of cardboard to produce its form, which has since become a favorite lamp shade.</p><p>ryan b. lewandowski / academic</p><p>ARCH 544PARAMETRICRAPID PROTOTYPINGAssociate Professor Earl Mark Spring 2008</p><p>class geometric &amp; surface explorations</p></li><li><p>physical prototype _ lamp shade</p><p>transaction modelBased "draw the polygon"{ feature drawPoly GC.GraphFunction { Definition = function (Point pointList){ //procedure to draw any closed polygon of unspecified number of points Polygon arbitraryPolygon = new Polygon(this); arbitraryPolygon.ByVertices(pointList); }; }}</p><p>transaction modelBased "graphic function to find Z value given x and y coordinates"{ feature surfProg GC.GraphFunction { Definition = Point function(Point startPoint, double Cscalar, double degr, double resolution, double degrinc){ // Gets sin wave along x-axis and y-axis for z from x and y of startPoin // Works well for Cscalar set to 1.0 with Resolution set to 0.5 Point returnPoint = new Point(); double height; double distx, disty; height = Cscalar * (Sin(Degrees((degr * .9425) / 6)) + Sin(Degrees((startPoint.Z ) * 3))); distx = Cos(degr) * height; disty = Sin(degr) * height; returnPoint.ByCartesianCoordinates(baseCS, startPoint.X + distx, startPoint.Y + disty, startPoint.Z); return returnPoint; }; }}</p><p>transaction modelBased "draw cylinder"{ feature polygon01 GC.Polygon { Function = function(){ // Procedure makecircle to draw a circle as a series of line segments Point originPoint = new Point(); Point pt1 = new Point(); Point pt2 = new Point(); Point pt3 = new Point(); Point pt4 = new Point(); double degr, degrinc; double radius, radians; double distx, disty; double distx2, disty2; double xval, yval, zval; double xval2, yval2, zval2; double resolution; double Cscalar; int index; </p><p> radius = 4; degr = 0; degrinc = 2; index = 0; Cscalar = 0.3; zval = 0; resolution = 0.0; // Initiate Drawing of Circle while number of degrees less than or equal to 360 while (zval </p></li><li><p>The cardboard lampshades visual effect due to its corrugated rotation inspired my final project, a study of visual focal points of transparency within a wall structure. By creating a point of influence, the wall structure can shift its directionality to accomodate a specific focal view point while maintaining a set form. While an early study, this conceptual idea began a personal inquiry of the human interface with a traditionally static element and the possible active building systems to create such an ability. </p><p>ryan b. lewandowski / academic</p><p>step 1 _ construct smart b-spline surface </p><p>project inspiration _ corrugated prototype </p><p>step 2 _ parameterized guide lines </p><p>step 3 _ array points on surface</p><p>step 4 _ perspective lines</p><p>step 5 _ louver guides based on perspective</p><p>step 6 _ construct louver</p></li><li><p>ARCH 302STUDENT STUDY CENTERAssociate Professor Charles Menefee Spring 2007Charlottesville, VA</p><p>The semester long project was an investigation of public and private spaces through the experience of the student at the University of Virginia. The building becomes an active interface between the student at study and the student in transit through a dynamic facade created by individualized study spaces. </p><p>ryan b. lewandowski / academic </p><p>concept site plan</p></li><li><p>ryan b. lewandowski / academic / 2007</p><p>Through a mixed process of intense writing and sketching, the projects concept, program, and site emerged and developed. Anchoring itself on the backside of the psychology building along a popular student shortcut, the building extends through a wooded site that is the backyard for multiple existing university buildings. Viewed as a unique remnant of the natural terrain, the overall site strategy was to connect the student with their surroundings through a series of new paths and visual connections from the elevated study spaces.</p></li><li><p>Considering the individual study carrel as the most basic unit of the design, I investigated the materials, light qualities, and spatial relationships with the goal of designing a space that can be personalized by manually changing its spatial and light qualities. The carrel serves as a module of space that is expanded to accommodate small group spaces and larger public lounges throughout the building.</p><p>ryan b. lewandowski / academic / 2007</p><p>base module _study carrel</p></li><li><p>module.02 _group study space</p><p>module.04 _public lounge</p><p>base x 2</p><p>base x 4</p><p>base</p></li><li><p>ryan b. lewandowski / academic / 2007</p><p>wetland</p><p>bouldered</p><p>wooded lawn</p><p>Due to the varied terrain across the site, the three main exterior spaces have unique landscape strategies. A wooded lawn on the high ground, boulders on the hillside, and a wetland that maintains an existing daylighted drainage field. </p></li><li><p>Taking inspiration from the glowing advertisements within the main square of Copenhagen, this design for a new kunsthal creates a new public space with light by turning the museum inside out. Specializing in video and light art exhibits, the idea became to turn art that is traditionally viewed in se...</p></li></ul>