tyler gentry design portfolio 2015

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Architecture and Design Portfolio


  • architecturaldesignportfolio[tylergentry]

  • affi l iations

    exper ience


    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)7769620



  • 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 its 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 its 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 its left, weve 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


  • 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 i