Barrett Peterson

Spring ‘13 [p. 4-7]

Spring ‘14 [p.8-11]

Fall ‘13 [p.12-13]

Fall ‘12 [p. 14-17]

Spring ‘14 [p.20-25]

Fall ‘13 [p.26-31]

Daylight AnalysisDaylight Factor

Contour Range: 0.0-15.0%In Steps of: 2.0%

Timber in the City

Saarinen Research

Architectural photography

Net Zero Studio

Design Build

Media Library

Boutique Hotel

Architecture Portfolio

Summer ‘12 [p.18-19]

Barrett PetersonRecent Graduate of the

Masters of architecture program at Iowa state university

Graduated may 2014

P: 515-490-4674E: italia26@iastate.edu

Link to Online portfolio -http://issuu.com/barrettpeterson/docs/

architecture_portfolio

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Education

Skills

Experience

Iowa State University Ames, IA Masters of Architecture Graduation: May 2014

Iowa State University Ames, IA Bachelor degree in Community and Regional planning

2011-Present

FALL 2014 - Present

Teaching Assistant Iowa State University

Research assistant Iowa State University

Proficient in Autodesk: CAD, Revit, 3Ds Max, Vasari, Ecotect | Physical Model Making | Adobe Suite: Photoshop, Illustrator, InDesign | Hand Rendering | Microsoft Office: Excel, Power Point, Word | Sketchup | Rhino

Working with assistant professor Rob Whitehead on research pertain-ing to Eero Saarinen's work and construction methods using con-crete, particularly Kresge auditorium through Dulles airport. Gather-ing research, collaborating on possible projects, modeling projects in 3D programs, and graphically displaying information.

2006-2011

2012 -2013

Summer 2012 Prepared studio spaces in anticipation for the following school year. Small design build projects to enhance pin up spaces throughout the Design building. Other general building maintenance and upkeep

Building Administrator Assistant College of Design Ames, IA

ReferencesJason Alread Graduate Advisor, Sci-tech and studio professor

Associate Professor and Graduate Coordinator Architecture

Iowa State University158 College of DesignAmes, IA 50014E: jalread@iastate.edu P: 515-778-4549

Tom Leslie First and second year sci-tech professor

Pickard Chilton Professor and Assistant Professor Architecture

Iowa State University158 College of DesignAmes, IA 50014E: tleslie@iastate.eduP: 515-294-8460

aia, leed AP

AIA

Rob Whitehead

Assistant Professor Architecture

Iowa State University158 College of DesignAmes, IA 50011E: rwhitehd@iastate.eduP: 515-419-8166

First year studio professor, Teaching and Research Assistant for Rob

Taught individual undergraduate lab sessions in architecture science and technology classes. This was a 3 module course which focused on environmental forces/design, material assemblies and detail-ing, and structural forces and systems. Worked with professors Rob Whitehead, Ulrike Passe, and Bruce Bassler.

Recipient of the Design Book award from Iowa State UniversityGPA 3.77

Professor - ULRIKE PASSE

GROUP - GENTINA Patton, Abbie Caldwell, and Erica RihaMOD/RED

Located in the red hook area of NYC, the main goal of this project was to push what wood was capable of Researching modern techniques being practiced in Canada and Europe clt panels were implemented to serve as the main structural components of this project. Research also went into concerns of fire safety and issues with charring of wood at certain thick-nesses.

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2 x 4’s into cross laminated timber panels

CLT panels combined to create apartments

Clt structural cores, and main circulation

Construction process of individual apartment placement adjacent to cores

The Ikea had an extensive influence on this area of Brooklyn as well as the design of our apartment. The placement of the ikea here has created a direct route to Manhattan by way of the ikea ferry, often times bringing people to the store while the rest of the neighborhood is largely neglected and isolated by the expressway.

The concept behind ikea products has informed the construction method behind the cross lam-inated timber tower. Much like Ikea's concept of a flat pack units, the tower consists of individual units that are assembled in the wood workshop on-site then craned into place. These smaller units come together to make up the collective whole.

Process models

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Single loaded corridors allow for the possibility of opening up apartments for cross breezes to flow through. Operable windows above the apartment doors and in the hallways allow resi-dents to control and manipulate these open-ings as they see fit without allowing direct views in or out into the hallway.

An outside public roof deck Hallway in central cores Typical studio apartment

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Eero Saarinen Research Work completed for Professor Rob Whitehead

Top View of Kresge Formwork

Kresge Auditorium on the campus of MIT (1953-55)

After much controversy, many failures, and subsequent alterations Kresge proved to be a semi-nal building in Saarinen’s efforts to marry rational structure with expressive beauty; something that he would later combine in satisfying unity. Kresge was early on in his working relationship with the engineering firm Ammann and Whitney, who would have an increasingly integral role in Saarinen’s designs and help him to shape and combine aesthetic with function.

Process of how formwork was constructed

Formwork was built on top of concrete auditorium

Three exterior walls of bracing

Three exterior walls of bracing

Three exterior walls of bracing

Formwork for edge beamInterior formwork on top of auditorium floor

All assembled formwork with concentric rings in the center

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The images of Kresge and Dulles side by side goes to show the work, thought, and progress made by Eero Saarinen with his collaboration with Ammann and Whitney. Ultimately what this led to was a more efficient construction process with significantly less formwork. When constructing Kresge Saarinen said the goal was to enclose space with the least possible cost; with Dulles his partnership with Ammann and Whitney proved fruitful in their quest for aesthetic and efficiency.

At Dulles Saarinen efficiently married an expressive form that also performed functionally and struc-turally. As a symbol of flight, the swooping concrete ceiling, hung between the angled columns, also happens to be a catenary shape. What this made possible was construction process, the columns first, then a portion of the roof around the columns, and finally hanging cables spanning between which formwork and beams were hung form.

Kresge and Dulles perspective, full formwork

Elevation of Kresge and Dulles, full formwork

Dulles completed cast concrete

Full formwork

Dulles International Airport Chantilly, Virginia (1958-62)

Dart central station

Photography taken on a Nikon d3000 of the dart cen-tral station in Des Moines, IA by Substance Architecture

Professor - Cameron Campbell

The main focus of the design was to first and foremost maximize the passive methods in the design of the building and have different pro-grams serve multiple functions, then incorporate active systems. This building achieves a very ef-ficient form through varying design decisions, which include: Keeping the building tight and reducing the surface area. Orientating the lon-gest face to the south and also maximizing the amount of solar gain through glazing while also including shading devices for summer months, and incorporating a second skin that would cre-ate a thermal buffer in the winter and passive ventilation into apartments in the summer.

Coalesce Mixed USE

The emphasis of this studio was to design a high-ly efficient sustainable building that would take advantage of both passive and active strategies to help reduce energy consumption and produce some of its own. The city of Houghton wanted a mixed use building that included housing, com-mercial spaces, and offices. The site is located in Michigan on the Upper Peninsula near lake supe-rior.

Compact box to reduce surface area.

Process models

Professor - ULRIKE PASSE

GROUP - GENTINA Patton, Abbie Caldwell, and Tuo Ji

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Splitting apartments apart and add-ing office space.

Shifting heights to transition from housing to downtown

Circulation cores added, also serve as solar chimneys

Inside circulation core

Typical apartment unit

For the city of houghton with rich history in copper mining and specific architectural expression, we wanted to design a building that fit into the land-scape of the people and place. The terracotta tied into the predominately brick construction much of the downtown was comprised of. And in the end we came up with a design that fit between the residen-tial and commercial districts as well as the construc-tion methods and milieu of the city.

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View from 7th floor of nearby hotel

The circulation cores of this building were designed to serve multiple functions that would also change throughout the year. Functioning as solar chimneys to help pull fresh air through apartments during the warmer summer months. During the harsh winters the these cores could be closed and function as a way to sequester heat that could be transfered to the thermally massive walls and floors of each unit.

Public plaza and bioswale

This was a collaborative design-build studio focusing on constructing something for the local community. This manifested itself as a mountain bike skills course near Des Moines, Iowa.

Over the course of the design pro-cess smaller groups were formed and were responsible for both the design and oversight of the con-struction on specific sections of the bike park. Certain sections were smaller scale with less intense con-struction methods while others included banked curves, which re-quired wooden pilings to ensure structural integrity.

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Banner bike trails

Existing Panorama

Overall site plan

(B)(C)

(A)

Component drawings (C) and (e) Construction of bike path sections

(B) Banked Corner

(C) and (E) long slope trails

(C) and (E) long slope trails

Professor - Jason AlreadGROUP - ENTIRE ARCH 581 CLASS

ZEAL MiamiProfessor - Jason Alread

GROUP - Micheal Owen, Tony Scotellaro, Miranda Spears, and Dan Fohn

The design for Zeal Miami was in response to many of the other hotels in the surrounding area. Rather than perpetuating the typology of a closed off enclave, the main theme of this was to allow public and hotel guest permeability through the ground floor of the site. To not only enhance the experience of the pub-lic but also the guest; by bringing Miami into the site and the hotel experience.

Much like the hotel rooms, there is a rigid geometry which is used to distinguish space throughout the site. The parti was split east and west with each open and solid area programmed to respond to the city on the West and the Beach to the East.

There are also guest only programs throughout the site and a hierarchy if spaces vertically. This allows guests to experience how much they choose. They have to ability to become fully immersed in Miami or remain autonomous.

Open

Solid

Solid

Open Cafe and Public Plaza

Pools, Lounges, Bars, Access to Boardwalk, and Bungalows

Porte Cochere and Boutique Retail Shops

Conference Center, Sports Club, Lounge, and Night Club

Public Permeability

Guest only Access

150 Rooms, Restaurant, Spa & Sauna, and Pool Decks

Hotel Towers

Retail, Conference, Exercise, and Bar

Guest and Public Pro-grams

Guest front deskGuest mezzanine

Access from Collins and Boardwalk

Public and guest walkway

Retail, Conference, Exercise, and Bar

Landscaped pool area, and public plaza

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The basic idea that drove the de-sign of the rooms was to provide substantial views towards the beach and downtown Miami. So the room was programmatically split in half one side orientated to-wards to city and night, the other towards the beach and day.

This lead to the rooms having two entire walls of glazing with opera-ble shading devices. Much like the glass houses of Mies and Johnson the program of each space was defined and contained within two solids inserted in the middle of the space.

In order to create an elegant and formal feel the color palette was kept to black and white with splashes of color that could be added with furniture. This also accentuates the views out.

Hotel Rooms

Entrance from boardwalk

View from beach

Section perspective of hotel programs

Site plan

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The Restaurant and spa that connected the tow-ers serves as a gathering place or hotel guests. It also breaks up to formality of the rectilinear towers. This break in the overall shape is further articulated through the use of Ipe wood that is also present in the solid enclosure on the ground level.

The two axis on the ground floor was made of a polished granite with a slip resistant coating. This adds to the importance and elegance of the axis which define each space and serve as a way to navigate through the hotel. The axis is an homage to a fashion runway, the red carpet, it is a place to be seen as well as see out; which is why its also elevated from the landscaped open spaces.

On the axis looking East towards the ocean

Restaurant bar

Restaurant lounge

Guest entry with Ipe wood overhead, looking South

View from Bungalows towards the nightclub

Finished physical model

Circulation

Gen. Cric. Stacks

Main Lobby

Cafe

Retail

Large Cinema/AudSmall Cinema/Aud

Lobby

Info/Security Desck

Circulation Services

Work Stations

Reference Collection

General Circulation Stacks

Study/Reading Area

Study Rooms

New Media Stacks

Digi Work Station

Digi Lounge

Restacking Zones

Youth Center

Teen Center

Tech Classroom

Director’s SuiteLibrarian’s Suite

Colection Services

Library Sta� Area

Loading Dock

Mail and Sorting RoomRecycling and Storage Area

Building Operations and Sta� Room

Security O�ce

Library Storage

Storefront Gallery

Gallery O�ce

Main Gallery

Orientation Space

Reference Desk

Restacking Zones

SF Media LibraryProfessor - Jason Alread

GROUP - GENTINA Patton, Micheal Owen

The design for the media library was born out of creating a public building that could be openly seen as public. Not only giving back to the public realm in the downtown area but also carrying this model into the interior and having the programmatic use inform the central atrium space of the media library lobby.

Public to Private programmatic diagram

Network and square footage Relationship

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Financial district

Embarcadero

Fisherman's Wharf

Entry from public plaza North south section through atrium

Perspective from northern approach

The design for the media library was born out of creating a public building that could be openly seen as public. Not only giving back to the public realm in the downtown area but also carrying this model into the interior and having the programmatic use inform the central atrium space of the media library lobby. The program also called for a cafe which we combined with the atrium. The librarian's desk and cafe bar also shared a long space through the center of this space.

The materiality used throughout this project also corresponds to its use. The structure of the building is composed of cast concrete, making up the skeleton of the building. The wood elements are then clad over and located is areas where human interaction takes place (this includes benches the run up the public plaza, strips along the floor in the atrium, and on the operable windows along each facade bar). this material is more tactile and organic better responding to human scale and touch.

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Process models

Final model

This project was also about respond-ing to the location and specific cli-mate within San Francisco. Being on the edge of the embarcadero and on the edge of the financial district, this library would attract attention from transitory visitors as well as perma-nent residents. This is a critical junc-tion in the city. We took advantage of the local temperate climate by incor-porating large amounts of glazing on the buildings exterior. This also al-lowed appropriate light levels in even when foggy.

This was an iterative process, and our group explored many different schemes. We ultimately decided upon one where everything was built around the open atrium, which was an extension of the outdoor public plaza. From this we were able to cre-ate two separate blocks, one to the city and the west, for the stacks and procurement of the media, and the other to the east and the bay was for experiencing that media.

The outdoor public plaza the began on the southern edge of the site continued into the atrium of the library and then through the building exiting the on the northern edge. While this carried the public realm into the interior it also gave the library a grander sense of procession and entry, which is clear in many traditional libraries throughout history. This was thinking about taking that idea of a grand central staircase and seeing what form that should take today and in San Francisco.

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Collection Block

Public Plaza

Reading Block

Lobby

Barrett PetersonP: 515-490-4674

E: italia26@iastate.eduLink to Online portfolio -

http://issuu.com/barrettpeterson/docs/architecture_portfolio