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: [email protected] | cell: 937-776-9620