portfoliogregory zamell

montana state university2006-2011

insi

de

address:8250 S. Steele Ct.Centennial, CO 80122USAphone:(720)-984-8407email:gregory.zamell@msu.montana.eduwebpage:www.gregoryzamell.com

1portfolio

resume

1. whitney museum of american art[new york city, ny]

fall 2010

2. live.work.grow co-operative

[san diego, ca]spring 2011

3. hyalite buddhist center

[bozeman, mt]summer 2011

built worksfurniture | guitar | fused glass

sketches / watercolorsmontana | european foreign study

photographyeurope | philippines

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gregoryzamell

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sKiLLs / ABiLiTies:

Computer Aided DesignBasic knowledge of AutoCAD, Rhinoceros 3d, Revit Architecture, and CorelDraw (for laser cutter), with exceptional knowledge of Google SketchUp Pro and VRay renderer.

Adobe Creative SuiteAdvanced knowledge of Photoshop and InDesign, with working knowledge of Illustrator, and Acrobat for image processing and graphic layout.

Microsoft OfficeWord, Excel, and PowerPoint for word processing, data spreadsheets, and slideshow presentations.

Hand SkillsSketching/drawing, watercolor illustration, drafting, woodworking, basic welding and metalwork, photography, glass work, and experience in an array of architectural modeling.

edUCATiOn:

Montana State University | Bozeman, MTMaster of Architecture

completed:• August 2011 with highest honorscummulative gpa:• 3.8studio gpa:• 4.0

Bachelor of Arts in Environmental Designcompleted:• May 2010 with honorscumulative gpa:• 3.4

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8250 S. Steele Ct.Centennial, Co 80122PHOne:720.984.8407303.741.2861eMAiL:gregory.zamell@msu.montana.eduWeBPAGe:gregoryzamell.com

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ACCOMPLisHMenTs:Dean’s list: fall 2008 - Summer 2011•Graduate teaching assistant: fall 2010 •Building Construction I: duties included grading tests, papers, and projects.Graduate teaching assistant: Spring 2011 •Intro to Design: duties included lecturing, instructing a weekly recitation of 14 students, and evaluating their work.AIAS member since 2006.•All three graduate studio projects retained for archives - fall 2010, •Spring 2011, Summer 2011foreign study sketchbook retained by the School of Architecture to be •used as an example for future study abroad programs - fall 2009Part of winning design team in full scale bridge building contest (most •beautiful) - Spring 2007Runner up for first-year design scholarship - Spring 2006•

PROFessiOnAL eXPeRienCe:

Elizabeth Metz Architect, P.C.Architectural intern | May 2010 - August 2010 | Denver, Co

Design development and elevation study through a variety of mediums •(trace paper overlay, Photoshop, study modeling.)organization and cataloging of construction document archives•Presentation modeling utilizing a variety of materials.•

Colorado Department of Public Health & Environmentoffice intern | Summers of 2004 - 2007 | Glendale, Co

Records requests, mass mailings, document processing, front desk, •filing, organizing, and misc. administrative duties.

PROFessiOnAL ReFeRenCes:

Mr. Henry Sorenson, ASAI, DCAMontana State University244 Cheever HallBozeman, MT 59717(406)-994-3951henrys@montana.edu

Mr. Ralph Johnson, AIAMontana State University243 Cheever HallBozeman, MT 59717(406)-994-4650ralphj@montana.edu

Mr. Thomas McNab, NCARB, AIAMontana State University243 Cheever HallBozeman, MT 59717(406)-994-3793tmcnab@montana.edu

Mrs. Elizabeth Metz, AIAElizabeth Metz Architect, P.C.717 Mariposa StreetDenver, Co 80204(303)-572-2952contact@emarchitect.com

whitney museum of american art

new york city, new york

Known now as the greatest comprehensive collection of American Art in the world, the Whitney collection had a drastically less flattering reputation not so long ago. In 1914, a wealthy patron called Gertrude Whitney, began collecting the controversial works of little-known artists working in America. A passionate collector and failed artist herself, she realized the immense difficulty of establishing oneself as a mod-ern artist in the 20th century, so she decicated her life and wealth to becoming an advocate for the American modern artist. She opened studios, sponsored artists, sent them to art schools across the globe, but most importantly, she bought their work. By 1931, her collection had reached over 500 pieces, and without adequate space for her to exhibit it all herself, she offered it to the Museum of Modern Art. Deem-ing it as unrefined and inadequate, the MOMA quickly rejected her offer. This rejection would go on to shape the face of the art movement in America by prompting her to open her own museum -- The Whitney Museum of American Art.

Eighty years later, that collection of sub-par works by unknown artists is now one of the most prized art collections in the world, giving the Whitney an ambiguous sort of history -- was it the Whitney that al-lowed the artists to thrive, or was it the artists that allowed the Whitney to thrive?

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HIGH lINE PARK | manhattan, nyc

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FALL2010

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“Museums have had the habit of waiting until a painter has a certain recog-nition before they would accept his work within their sacred portals. Exactly the contrary practice will be carried on in the Whitney.”

-Gertrude Whitney, 1930

This ambiguity is manifested in the building’s mass by its divi-sion into two main forms -- an oblong concrete box contain-ing the Museum spaces, and a supporting glass-cladded foot that sits below. The foot itself however is raised slightly above street level, giving the allusion that concrete box is suspending it off the ground.

Programmatically, the new Whitney continues to carry out Gertrude Whitney’s mission of supporting the amateur artist by sponsoring four different artists every three months. by exhib-iting their work and providing them studio space. The spon-sored studios and galleries sit at the very front of the museum, not only engaging visitors, but engaging pedestrians along the Highline Park and Washington St.

FALL2010 whitney museum|new york city, ny

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whitney museum|new york city, ny

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The enormous 220 foot cantilever is structured by two bridge-like trusses (1) anchored into a mass of solid con-crete (2). Similar to the structure of a crane, the concrete core acts as a massive counterweight, allowing the build-ing to cantilever over an incredible distance while giving it the illusion of flotation. Embedded into the concrete mass are the museum’s major freight and passenger elevators (6), as well as the building’s primary mechanical shafts (7).

The three levels below grade (4) contain all of the museum support and pragmatic spaces (administrative, curatorial, archives / storage, exhibit prep., and mechanical). With their deep footings and wide footprint, these underground levels act much like a snow shoe for the cantilever, distrib-uting its loads over a greater area. Slightly raised above grade to bring in daylight, the plinthed support spaces are topped with an intensive green roof that becomes a se-cure, occupiable sculpture court for the museum.

1. Primary truss structure2. Solid concrete counterweight3. Secondary vierendeel trusses4. Below-grade structure5. Roof and floor plates6. Vertical circulation7. Mechanical cores8. overall massing

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FALL2010

green roof sculpture court exploded wall section:

vegetation32” green roof substrategrowing mediumfilter layerdrainage layerprotection matwaterproof membrane8” insulationconcrete roof deckgravelmetal edge dividerwall flashing

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live.work.growco-op

san diego, california

A once cohesive urban fabric, San Diego is now a city divided amongst interstates and freeways -- one of the most notable of which, is Interstate-5. On a national scale, its intention was to connect the coastal states, but locally the highway was the cause of numerous rifts throughout San Diego neighborhoods. Since its construction in the 1950s, the section of I-5 running just east of downtown has served as a divider between two culturally rich neighborhoods that formerly existed as one -- San Diego’s East Village and West Downtown.

In an attempt to repair this torn suburban fabric, our design studio has literally bridged over the interstate, transforming the division into a vibrant greenway. Following suit of a previously proposed plan to the city of San Diego, the massive “bridge” over the highway will stitch these neighborhoods together through a wide range of affordable housing and socially engaging programs. Each student was allocated a site on the urban greenway and then encouraged to deveop a mixed-use program (of housing + other) to spur growth and unity in this interstitial community.

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Co-operative restaurant & cafeVertical circulation & communal spaces2-bedroom units (ADA)1-bedroom units1-bedroom units

BUIlDING oRGANIZATIoN

2 live.work.growco-opsan diego, california

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With a worker-owned and oper-ated restaurant and cafe below, this housing co-op provides its members with a unique opportu-nity. Geared specifically toward those in the restaurant / hospital-ity / organic growing industries the occupants will all be given the option to not only become share holders of the housing co-op, but partial owners of the restaurant below. This program gives indi-viduals such as sous chefs, baris-tas, waiters, bartenders, growers and etc. the chance to become part of a greater whole in these times of economic hardship. Be-cause of the high level of com-mitment and like-minded vision involved in such a program, the members are sure to foster close relationships and gain a great deal of knowledge from one another.

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live.work.grow co-op|san diego, ca

The form of the building represents the concepts of cooperativity and unity through interlocking units. The single-bedroom apartments wrap around each other and like a co-operative, the interlocking units forge together and depend on one another to give the structure its unique massing.

The building itself could also be described as a min-iature urban ecosystem, as the occupants support the restaurant and the restaurant supports the occu-pants. The third level communal gardens, also tend-ed by the co-op members, will provide the restaurant and farmers market with herbs and vegetables while the organic waste from the restaurant will compost the gardens.

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live.work.grow co-op|san diego, ca

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SPRING2011

hyalite buddhist center

bozeman, montana

During the “rainy season” (spring), Buddhist monks and nuns are encouraged to take a retreat form their transient lifestyles in order to avoid treading on the season’s fragile plants and young animals. They preach a boundless love for all living things, so during this retreat of 2-3 months, they are completely confined to the walls of the complex and left only with the rituals and activities that make up a religious life -- eating, cooking, bathing, studying, meditating, and sleeping. These rituals create a daily cycle of activity for the monks, a routine that puts them on the fast track to enlightenment by eliminating the typical desires and obligations of lay-society.

Given the fundamental ideals and rules layed out by the Buddhist Community, the Hyalite Reservoir just south of Bozeman possesses all the desired site charac-terisitics for a Buddhist complex. It is: “A place which is not too close to town but not too far either, where people can come and go, easy of access for those who wish to visit, not crowded during the day, peaceful at night, a place away from people, sheltered from the disturbances and crowds, and appropriate for the religious life.” By freely floating the project on water, the building not only treads lightly on nature, but it metaphorically represents detachment from the whole of society that Buddhists strive for.

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capstone STUDIo

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SUMMER2011

The physical conditions of the site dictate how the complex is occupied throughout the year. Because the retreat takes place from April through June, the monks arrive in late March by crossing the lake’s frozen surface. Stocked with non-perishable foods and other supplies, the building is fully equipped to sustain all 66 occupying monks and nuns for the entirety of the retreat. By mid-June, the ice has thawed, indicating the conclusion of the retreat. After the monks and nuns leave by boat, the complex is open to the public for the rest of the year. Hikers, kayakers and campers are free to stay in the summer while ice fishermen and Forest Service-men use it for lodging in the winter.

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hyalite buddhist center | bozeman, mt

SUMMER2011

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Vertical circulationMeditation rampSleeping cellsPragmatic spacesPoetic spaces

BUIlDING oRGANIZATIoN

The mass of the building is a rectan-gular donut form that contains the dai-ly routine of a Buddhist monk or nun. The central void is circulated via a four-level meditation ramp that connects all the ritualistic spaces / activites of a re-ligious person as they ascend up the ramp -- 36 two person sleeping cells, an open-roofed communal bath (16), a communal dining / assembly space (14), three class rooms (15), and a sub-surface meditation temple.

Clean water for bathing and cooking is provided by a living machine water purification system (11). Utilizing a combination of advanced technol-ogy and the natural ecosystem processes of a tidal wetland, the system can purify water drawn from the reservoir and even con-vert black water into clean, potable water. Other pragmatic spaces include a kitchen/pantry, a library (10), laundry facilities, a clinic, and plenty of space for storage.

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HYALITE BUDDHIST CENTER

SECTIoN A-A

SECTIoN B-B

Because the reservior is free of utility lines, the complex is heated by two industrial sized, automated pellet stoves. Far more efficient than typical wood stoves, these are fueled by small pellets of highly condensed recycled wood. The stoves not only radiate heat throughout the complex, but also provide the hot water for a radiant floor system as well as the hot water for cooking and bathing needs. With the pellets made cheaply and readily available in Montana, the massive stoves are stocked four times a year via exterior grain elevators.

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built works

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Tools used: hand planer, panel saw, hand drill, coping saw, spoke shave, chi-zel, files, clamps, and a soldering iron.

Tools used: hand planer, panel saw, hand drill, coping saw, spoke shave, chi-zel, files, clamps, and a soldering iron.

electricguitar

arch. 543 hand tools

For this graduate elective course, students were required to fabricate a project of their choice utilizing only hand-powered tools. With a board of reclaimed ash, purchased parts and hardware, and a copy of the Fender factory blueprints, I chose to recreate the body of a 1962 vintage re-issue Stratocaster.

To give the hardware cavities their pre-cise depths, the body was created by ‘sandwiching’ and gluing three seper-ate layers. The central stripe of blonde sapwood was achieved by inverting and joining sections of the quarter sawn ash board down the middle. Once fused together, the body was carefully sculpted, sanded, and then finished with a clear coat laquer. After wiring the interior, bolting on the neck, and attaching the other purchased parts, I now have a fully functioning, custom designed electric guitar.

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FALL2010

glassfusion

arch. 543 hand tools

Instructed by rising glass artist, Professor Tad Bradley, this course focused on craft within the medium of fused glass. Throughout the 16 week course, the class placed an emphasis on understanding the natural tendencies and physical qualities of the glass, then applying that knowledge in the fabrication of a final piece.

Based on their arrangement prior to firing, the individulally cut 1/8” thick pieces of glass liquify and fuse together, yielding highly unique, and sometimes unpredictable results; Chemical reactions between certain colors, kiln temperature, firing time, and the composition of the the glass all greatly impact the final product. After weeks of experimentation, each student was required to submit a final piece, showcasing their understanding of the glass.

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Glass clock: 1 1/4” thick fuse

Sample panels

final piece: pre-fired images

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Final piece: Three 1” thick, 20” tall panels housed in a baltic birch plywood base. Colors used - clear tekta, french vanilla, oregon gray, and neon accents.

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sketches / WATERColoRS

observation drawingmontana, usa | europe

A series of selected field drawings from academic graphic portfolios. With emphasis placed on proportioning and hand strokes, the mediums of these works include: pen and ink, watercolor, colored pencil, charcoal, and mixed media. [Arch. 564 Advanced Graphics + Arch. 457 European Foreign Study]

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amsterdamgroningend e l f tu t r e c h trotterdama n t w e r pb e r l i nm u n i c ha t h e n ss an t o r i n im e t e o r ai s m i ri s t a n b u lk u s ada s ibarcelonab i l b a ov a l e n c i a

sketches / WATERColoRS

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foreign studysketchbook

netherlands | belgium italy | germany | greece

turkey | spain | ireland

photography

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photoGraphY2009

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santorini, GREECE

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hundred islands, PHIlIPPINES

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photoGraphY2011

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banaue, PHIlIPPINES

thank you

to see a complete portfolio please visit:

gregoryzamell.com