architecturaldesignportfolio[tylergentry]

affi l iations

exper ience

education

skil ls

professionalamer ican institute of architects, dayton chapter (scholar ship program) university honors programcincinnatus scholar ship program

bellbrook high schoolhonors diploma and award of mer it

university of cincinnati class of 2013bachelor of science in architecture

community involvementmissio dei church; md creative team, head of photography teammissio dei church; folk band architecturalmodel making, woodworking progress documentationrender ing (graphite , watercolor, etc)spatial analysis, passive designdigitalautocad, revit architecture , rhino, autodesk maya, photoshop, indesign, i l lustrator

workbialosky + par tners architects - 2014-2015: project coordinator designerFRCH design wor ldwide - 2013-2014: project coordinator, designerproject: spARCH - 2012: instructor, designer, curr iculum developeruniversity of cincinnati , planning+design+construction - 2011:architectural co-op, designerscott architecture , LLC - 2011- architectural co-op, draftsman

contact informationemail : tylergentr y8@gmail .comcell phone: (937)–776–9620

[résumé2015]

contact

f o r t a n c i e n t m u s e u m[site influenceddes ign ]

During the spring quarter of 2011, this studio

focused primarily on a projects relationship to

it’s site. This particular project was to design a

museum center for a Hopewell Native American

archeological site called Fort Ancient. This place

obviously offered substantial historical context as

well as a unique physical site to work with.

My design spanned the river that ran next to the

site and came to rest on the floodplain across from

the park. My design also derived its form from the

Hopewell sun calendars that were designed in the

form of serpents. These creatures were revered

as holy animals for their liminal ability to cross

between the mediums of both land and water.

This is the reason why my design spanned the

river. The museum itself became the same liminal

creature that the Hopewell, whose legacy would

be protected there, held in such high regard.

o u t o f f a i l u r e[ICFFdisasterre l i e f ]

Space : Roll began as a reaction to disaster, not just

natural, but also political and social. We started by focuing

on the events following hurricane Katrina. The category 5

hurricane was one of the deadliest and most destructive in

US history, affecting more than 15 million people. In it’s path

were destroyed homes, government buildings, and entire

communities. With nothing remaining, many were forced to

relocate or move to FEMA trailers. As with most situations,

there was gap of time in which families were left in limbo,

living in an overcrowded Superdome while they waited for

trailers or were able to move in with relatives. From this failure

in organization and response time, we found an opportunity

to create something that could be flat packed, driven to any

site, and easily assembled by a few people. In creating an

enclosure that rolls to create multiple inteiors, we are able to

maximize the habitats programmatic uses and capitalize on

efficiency of space.

With the recent coming of Superstorm Sandy and the

destruction it’s left, we’ve come upon another situation in

which Space : Roll becomes necessary. In New York City,

Staten Island, and New Jersey where homes were flooded

and destroyed, Space : Roll could easily be distributed and

assembled to sit in Battery Park, on the Jersey Shore, or in

abandoned lots, creating temporary housing for thousands of

displaced families in need.

l a n g z h o n g c h i n a i n t e r v e n t i o n[digital lydrivenfo rm ]

During the spring semester of 2013 our

studio concentrated on expanding the use of

digital computation in deriving the forms and

compositions of our designs.

Firstly, a cityscape was generated using Autodesk

Maya and the Grasshopper plugin for Rhinocerous.

The forms were randomly generated using a set

of rules and guidelines layed out in these two

programs. The final cityscape layout was created

by combining the output of these two programs.

Further developing a specific portion of the city, an

intervention was to be proposed for the cityscape.

The decision was made to create a dichotomy

between the sense of hardness and harshness that

could be felt in the appearance of the cityscape

with softer curves and a form that has the feeling of

an organism, contrasting the softness of forms that

invoke a feeling of nature and the hard forms of the

cityscape.

c o p t i c c h r i s t i a n c o m m u n i t y[urbanplanningdes ign ]

foot trafficlimited access vehicular traffic

parking garage

community centerrental lofts

K-12 school

coptic museum

church complex

clinic/senior home facilites

The Coptic Christian Community Development

project required holistic urban planning for the

entire site, and had to include many different

aspects of the community. This included large

amounts of green space, a church, a chapel, a

medical center, a museum, a school, and a few

other important parts of the campus. The overall

layout played with inverting how different aspects

of the design are percieved. For example, the

natural elements, such as the green spaces and

park spaces, were contained by very rectilinear

and geometric constraints, while the buildings,

traditionally percieved as the harder and more

static elements, were allowed to formally flow as if

they were natural elements.

In addition to the overall layout, one specific

building was further explored. In this case, the

museum was the building that was designed

further. This building was almost entirely

subterranean, speaking back to the heritage of

the Coptic Christians. The building is loosly based

on the Hypogaeum, an ancient Coptic tomb in

Alexandria. This speaks to the reverence that is

felt in both tombs and museums, and helps the

Coptic Community to remember their past, their

forefathers that had gone on before them.

n o r t h s i d e a r t s c o m p l e x[communityengagingdes ign ]

The Northside Site project stressed designing for

the betterment of the community. Each project

required its own community program that the

building to be designed would house. Therefore,

the Northside Arts Complex was designed for

Circadian Rhythms, an arts based community

outreach program. The building would house

facilities for both musical and visual arts, and

included galleries, a central concert hall, and

studios in which community children and adults

could create art and music.

The building itself engages the community itself

by drawing passersby into the space through

apertures into the structure. The main curtain

wall of the concert hall opens up to the street,

as well as to the interior, bringing music and art

to the street, allowing for outdoor concerts and

community interaction from inside the center itself.

p r o j e c t s p a r c h [spreadingdesignth ink ing ]

Project spARCH is an innovative program going on at Hughes

High School, an inner city school in uptown Cincinnati. The

school is a STEM learning school, meaning that the students

actually choose a major and start learning necessary skills in

order to progress on to college. Working with an engineering

class, myself and three other architecture students from the

University of Cincinnati are teaching these kids design thinking

through the means of an architectural design studio at the

high school.

We focused on getting kids to think outside the box,

introducing design as a thought process for creative problem

solving that can be applied to anything, including solving

lunchroom problems and creating intricate break dancing

moves. To do this we have enlisted the help of many

volunteers including breakdancers, architects, and even

urban gardeners working in the city.

Above all, we have stressed to the students that we

are teaching them a new way of thinking and solving

problems, not just how to design a neat looking shed.

This new thought process can be applied to any situation

in their lives, and that is the very thing that we are

striving to share with these students.

For more information, go to: www.pro jec tsparch .org

t o r q u e f u r n i t u r e i n s t a l l a t i o n[interactivefurnituresys tem ]

Through the course of this project we designed an

intervention in the cafe of the College of DAAP,

a bench system that doubled as a screen. Each

bench twisted in such a way that they fit into each

other and interlock.

This end result, however, was not the direct

intention of our professors. The true goal behind

this project was to gain experience of going

through the design project as a team, as our

entire studio section was involved in the designing

and building of the system. Through this we

gained incredible amounts of experience with the

collaborative sort of design that is what is truly in

the workplace.

c l u s t e r e d t e c t o n i c s s t u d y[constructedfielddes ign ]

For an entire quarter our studio focused on

breaking down building elements into the three

basic tectonic elements of plane, solid, and frame.

This project was the culmination of that learning.

We were given an organizational strategy for which

we were to abstractly organize an elementary

school.

My organizational strategy was the word

“clustered” and I attempted to demonstrate it with

varying levels of elevation as well as using different

scales simultaneously in a cohesive manner.

In addition, through this project I also gained

valuable experience working with 3d printing and

laser cutting techniques that are useful in design

work.

c g c l a p t o p b a r[instal lat ionfurnituredes ign ]

While working for the University of Cincinnati

during the summer, I was tasked to design and

build a laptop bar system that would include

monitors to connect to students’ laptops. This bar

was built and installed in the Computer Graphics

Center in the College of Design, Architecture, Art

and Planning.

Using the Rhinocerous 3D modeling software, a

digital model was created to fabricate the different

components of the bar. The desktop surface was

CNC milled to fit the space and each panel marks

out an individual workspace.

The bar was structurally designed to be able to

withstand four hundred pounds at the middle of its

twenty two foot span. The steel beam that enabled

this features a hand polished pattern that was done

with an angle grinder.

p e r s o n a l a r t w o r k[imitatingreality]

d e s i g n i n g p h o t o g r a p h y[creativecaptures]

[tylergentry] email: tylergentry8@gmail.com | cell: 937-776-9620