kyle

014storefrontstudiofolio

1 / sketches2 / reading the city3 / insertion4 / independent study

sketches / kyle

Notre-Dame Cathedral, ink pen, PARIS.sitting dangerously close to the Seine

014storefront studiofolio

Quai Branly Museum, ink pen, PARIS.surprisingly breezy

sketches / kyle

Métropolitain entrance, ink pen with watercolor, PARIS.on the ground in the morning

014storefront studiofolio

Mont Saint Michel Abbey cloister, ink pen, LE MONT-SAINT-MICHEL.weekend of tourism and nice lighting

sketches / kyle

Bibliothèque nationale de France, sign pen, PARIS.a sunbaked afternoon

014storefront studiofolio

Maison La Roche, ink pen, PARIS.the sound of construction

sketches / kyle

Tram in Basel, ink pen with watercolor, BASEL.humidity and cappuccino

014storefront studiofolio

Beyeler Foundation, ink pen, outside BASEL.the leaf stayed

sketches / kyle

sketchbook, ink pen, VIENNA MUNICH ISTANBUL.independent travel, shadows, etc.

014storefront studiofolio

cave houses in rock formation, graphite pencil, GÖREME.sitting on a hard edge, it’s hot

sketches / kyle

Bosphorus strait ferry, ink pen, ISTANBUL.skylines everywhere

014storefront studiofolio

sequential perspectives down street, sign pen, SELÇUK.unexpectedly dodging cars

reading the city / kyle

Centre Pompidou urban studies, graphite pencil, PARIS.everything is better in section

014storefront studiofolio

dock of Portofino urban studies, multiple mediums , PORTOFINO.painted faux colorful details everywhere

reading the city / kyle

La Défense urban studies, ink pen, PARIS.this is a business district?

014storefront studiofolio

me: “Do you come to the park often?”woman: “No.”me: “Why?”woman: “...Leave me alone.”

insertion / kyle

lens; an altered perception; a new perspective“Bridging Burnet Woods”, CINCINNATI, O.

014storefront studiofolio

tactile, visual, sensual, redolent, muscular

insertion / kyle

scenes

014storefront studiofolio

“Breathe, breathe in the air. Don’t be afraid to care.

Leave; but don’t leave me. Look around and choose your own ground.”

insertion / kyle

“Bridging Burnet Woods”, final exhibition board, 014 STOREFRONT STUDIO

014storefront studiofolio

MuseumsQuartierVienna, Austria

Laurids and Manfred Ortnerrenovation, 2001.Vienna’s main cultural center featuring the Leopold Museum, MUMOK, and Kunthalle Wien.

The MuseumsQuartier’s narrow threshold entry creates an incredibly personal expe-rience into Vienna’s main cultural center. The program of the space gradually unravels as the user traverses the path’s various elevations, eventually being dropped down into the central space via a long stair that lays adjacent to the MUMOK museum. The sound of the main city begins to drown out as the activity of the public space within begins to get increasingly louder.

independent study / kyle

Piazza San MarcoVenice, Italy

By compressing a user in the threshold between Venice’s narrow streets and the main piazza, the “awing” sense of scale and apparent significance is amplified as someone proceeds inward. Light works in this favor as well; shadows in the “in between” darken the line between the “inside and out” of the public space, creating a seemingly “bright” arrival. Moving inside, the smells of fresh bread and sweet candy from the perimeter restaurants fill the space. The musical sound of the combination of various amateur per-formers scattered around immediately greet the arrivee upon entering.

Jacopo Sansovino, notably.rehabilitation, 1537.The public space between Procuratie Vecchie and Nuove, surrounding the Campanile.

014storefront studiofolio

Palais GarnierParis, France

In the Paris Opera House, many would argue that the approach (in the threshold) is more important than the arrival to the theatre. Built as a place for the bourgeoisie, it is meant to only host the opera, but more-so be the place in Paris “to see and be seen”, by the city’s most prominent figures. By stretching the or-der of spaces to take up half of the experience of going to the theatre (in section), Garnier’s making it quite easy for people to treat the pre-show and intermission as a total separate social event. The grand stairs only add to this affect, extending the visual experience to another floor.

Charles Garnier1875.The first opera house of Paris built for the bourgeoisie in the Second Empire Beaux-Arts style.

independent study / kyle

Banhof Basel SBBBasel, Switzerland

Cruz y Ortiz Architectos solves the problem of a divided Basel in the most fluid way by extending the characteristics of the city on either side of the dividing train tracks. This creates a seamless transition moving north to south in this part of the city. The experience is realized in a café-populated pedestrian street replica, that looks similar to mod-ern-day shopping mall. On either end of this main path, the foot traffic moves out onto the street without and apparent obstruction. This threshold simply extends the city experience upward, and across a divide, solving a major planning problem.

Cruz y Ortiz Architectos2003.A train station addition with the intent of connecting the parts of the city the tracks divide.

Fall 2014