Patrick R. Vokaty2015 Master of Architecture Candidate Illinois Institute of TechnologyArchitecture + Design Portfolio

Patrick R. Vokaty2015 Master of Architecture Candidate

Illinois Institute of TechnologyArchitecture + Design Portfolio

academic work | undergraduate

the bulge knowlton hall installation...........65-70

kudottu kampus aalto university................................39-46re-unification publiCITY: recycling ruins...........47-52integration cincinnati performance hall.......53-58gardens to forts columbus food fort.......................59-64

additional design workgraphic design..................................................71-74travel sketches..................................................75-76photography.....................................................77-78artwork................................................................79-80

academic work | graduateparallel arts miller beach art center....................1-18the gatewave neighborhood marker..................19-20sullivan spiral SOFA selection................................21-22

flexible thresholds con-temporary house...................33-38

caffeinated worm vermiculture furniture..................23-26

“all my sons” production design.........................27-32

parallel artsmiller beach art center

When thinking of art and what the community of Miller Beach, Indiana is, one realized that art is not just sculpture and painting, it is a lot more. Art is associated to the meaning of craft and the will to create something, whether it be useful to our physical or mental survival. Located in the center of downtown, Parallel Arts is the new art center in Miller beach devoted to all of the arts: painting, pottery, culinary, etc. It is the key component in the “rebirth of Miller Beach.”

The culinary half of the art center includes kitchens where students learn to cook and visitors can watch and even sample some work, as well as a culinary school restaurant, where the students are the chefs. The other half is dedicated to the arts with floating studio rooms which provide space for artists to work in privately, but also the chance to let visitors in. The theater located at one end of the center, provides space to express the representa-tive arts, while the exhibition area is dedicated to art that speaks for itself.

October - November 2013Collaboration with: Marina Pozzan & Janette Szesto-wickiInstructor: John Desalvo

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Miller Beach, Indiana site plan studios on same axis as live work studios next door

Exposition Spaces19600 sqft

Restaurant5500 sqft

Culinary+Art School15600 sqft

Indoor Walkway3000 sqft

Theater Space13600 sqft

Outdoor Walkway10000 sqft

Total sqft: 67300

circulation studies (blue: pub-lic; orange: private artists)

program distribution4

A B

C

D

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A

B looking East

B looking West

DC

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East elevation

West elevation

North elevation

South elevation

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column and truss structural studies

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solar “marketrees” for seasonal farmer markets

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Culinary Arts Plaza (left); Culinary School Restaurant at night (above)12

Scarlet Ramp from Artist Live Work Enters building

Through exhibtion spaces To library/cafe

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the gatewave neighborhood marker

The Gatewave is a symbol for what was, is, and will become of the gem of a town that is Miller Beach, Indiana.

Drawing upon what built up Miller Beach, the neigh-borhood marker references the Indiana Dunes and Lake Michigan through its layering and feathering nature; aviation pioneer Octave Chanute through similar constructure to his heavier-than-air flying machine; and the steel industry through the me-chanics of the structure.

The materials consists of 3/4” MDF board, 3/4” steel nipples, 1/2”x13”x8” hex bolts, 1/4” air craft cabel, and 3/4” crimps. The neighborhood marker stands at about twelve feet tall.

October 2013Instructor: John DesalvoCollaboration with: John Derkach & Ben Strasser

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sullivan spiral SOFA selection

John Desalvo and his firm, JDS Design, had been renovating an 1889 Louis Sullivan house in Old Town, Chicago. They had to recreate the original stair and wood work because it did not meet cur-rent code heights and was in poor repair. Desalvo’s clients allowed him to take the unused parts to re-purpose for an additional neighborhood marker for the SOFA Chicago Exhibition at Navy Pier.

October 2013Collaboration with: John Desalvo & Mark Rustin

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caffeinated worm vermiculture furniture

Can we accelerate composting?

The Caffeinated Worm is a baker’s rack for the kitchen of a coffee lover. One can grow, grind, and make his or her coffee in one place. A camouflaged hatch on the primary shelf leads to the heart of the furniture: the vermi-coffee-compost. This man-ageably-sized stainless steel bin is built into the wood structure. Inspired by a spaetzle maker, the grate at the bottom of the baker’s rack releases the worm’s... fresh fertilized soil. In turn, the dirt can be used to nourish the coffee plants, completing the circle.

This vermicompost solves the problem of wasted coffee grinds, filters, and of course, other food and paper waste. Having a bin conveniently located next to one’s coffee pot prevents spillage on trips to the garbage can, and the bin benefits from the moisture of the used coffee grinds and filters. The Caffeinated Worm is also an experiment to discover if a vermicompost can be accelerated.

January - February 2013Instructors: Kay Bea Jones, Ann Corley Silverman, Amy Youngs

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fresh water

bean roastercoffee machine

bean grinder

water tube (to dilute worm tea)

sliding shelf

ventilation screencoffee plantvermi-compostworm tea access

fertilizer drawer

extended pot

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all my sons production design

metaphor in the scenic design will shine through, that Joe views his home as a jail.

The question of Larry’s death is central to the plot of All My Sons, so I decided to make the apple tree, which is a memorial to Larry, roughly at center stage. This dark force had the power to destroy the Keller family. The morphed house’s perspective will point to it, along with the arrangement of the arbor, gazebo, and poplar trees. Having the tree split in two will adhere to many themes throughout the drama. Having one part of the tree crash into the gazebo, a material item will draw attention to Joe’s duty and responsibility and how his greed and material comfort blinded him to the murders he was committing. It references choices, consequences and ethics, and Joe’s moral dilemma when at a critical moment he put his family’s finance’s above the lives of courageous American soldiers. The split will also symbolize atonement and forgiveness and Joe’s final decision to escape from guilt by com-mitting suicide over confessing and imprisonment. Having the tree split in two, will also draw attention to Kate’s realization that if Larry is dead, then Joe is responsible for his death. The two parts sym-bolize her two “dead” loved ones. The other trees stand like sentinels protecting Joe from suspicions of neighbors; however, the apple tree in the middle of the yard reveals the Joe’s core and truth.

January - April 2013Instructors: Daniel Gray, Janet Parrott, Mary Taranti-no, Kristine Kearney, James Knapp

To create a picture perfect but secluded atmo-sphere suggesting normality as well as a “layered consciousness” and hyperrealism for All My Sons, per the director’s request, constructing a highly layered and dense set is the answer. Adhering to Arthur Miller’s multiple themes and motifs used throughout the drama in all three acts will further convey all the characters’ emotions through this tragic story.

Sticking to one stationery location, the Keller’s backyard, emphasizes Joe’s dark and inescapable secret. I plan to construct the 1920s picture-perfect house in a hyper-realistic morphed perspective to symbolize Joe’s skewed morals, and to add depth to the house and stage, conveying how financial-ly fortunate the family is. The master bedroom window on the second floor of an elevation of the side of the house will be shown as well to convey isolation in its use. To keep the setting isolated from the neighbors and the world, a dense grouping of poplar trees, and a heavy fence, arbor, and gaze-bo, will surround the house. The deep front porch, poplar trees, fence, arbor, and gazebo will also add drastic shadows in each act to aid in each of the acts’ climaxes, and in the entire drama’s climax at the end. I will extend the tops of the poplar trees and the roof of the house above frame to give the space no escape. An unnatural positioning of the poplar trees in addition to the backyard fence will resemble bars in a cell. When Joe is playing with Bert, pretending that the Keller house is jail, the

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ACCESS DOORTO PIT

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LIGHTING, SOUND, STAGE MANAGEMENT & PROJECTION CONTROL BOOTHS

ALTERNATE POSITION -91"

DROP BOXPOINT

TORM

BEAM 2

BEAM 1

MOVIE SCREEN

LOADING GALLERY

PIN RAILOPERATING GALLERY LINESETS 7-35

FOHTRUSS

LINESETS 1-6

SLOT 1

SLOT 2SLOT 3SLOT 4

ACCESS TO CATWALKS VIA SOUND BOOTH DOOR

ACCESS TOCATWALKS

The production design was split up into five parts: scenic, media, costume, lighting, and sound. Each section was taught by the chair of the specific department at Thurber Theatre: Drake Performance and Event Center at The Ohio State University. I individually worked with the designers, continuously polished each concept, and collaborated and discussed plans with the director of the production on a regular basis.

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WARM WASHR13 / 75°

HARD

COOL WASHR75 / 60°

HARD

WARM WASHR13 / 70°

HARDFOLIAGE PATTERNTHROUGH TREES

WARM LED

WARM WASHR13 / 75°

HARD

COOL WASHR75 / 75°

HARDPUNCHY75°

HARD

WARM LED

WARMSUPPORT LIGHT

WARMSUPPORT LIGHT

PRACTICALHANGINGPORCH

PRACTICALINTERIORLANTERN

WARM WASHR13 / 75°

HARD

WARM WASHR13 / 40°

HARD

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Lighting Plot: acting zones (pink); warm lighting (blue); cool lighting (orange)

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flexible thresholdscon-temporary house

“The premise of the studio dealt with finding a new system/technique of deriving architecture that primarily relies on its own history in the making, it’s lineage of architectural thought and closely scrutinizing the residue prpoduced by modern architecture. The idea of sameness or the horrors of a sausage-produced artifact is a challenge that the studio has investigated. It is precisely in these conditions that we will find the new direction of techniques of building. The siting for experimenta-tions of the architectural pop-up is in our very own city of Columbus before it can be exported to Asia and elsewhere.” -Sandhya Kochar

Through Flexible Thresholds, we produced a manifesto of a catalogue of lies based on the “fluff” between architectural norms: megalomanical dreams, unfulfilled desires, potency of the fragment based on narratives, politically incorrect architectur-al statements with spatial and tangible possibilities.

In a shotgun lot in the heart of German Village in Columbus, Ohio, we designed a series of organic frames of a house to be filled with and sometimes surrounded by pneumatic structures. We explored permanent and temporary inflatable housing and the possibilities and nature of double membrane fireproof PVC bubbles. Through on and off condi-tions, void and residual spaces were discovered, making for multiple mixed-use private and public spaces.

Spring SemesterCollaboration with: Ben JaworskiInstructor: Sandhya Kochar

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F L E X I B L E T H R E S H O L D SJAWORSKI + VOKATY

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MDF board and balloon study models (above)

House frame series (right)

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T H E I N F L A T A B L E S

1 . T H E E S S E N T I A L ( P E R M A N E N T ) 2 . T H E E N T E R T A I N M E N T ( T E M P O R A R Y ) 3 . T H E C A R R I A G E H O U S E ( S H R I N K W R A P )

a . f o y e r

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e . p a n t r y

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g . s t u d y

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i . l i v i n g / p a r t y

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a . f o y e r

b . c o a t c l o s e t

c . b a t h r o o m

d . k i t c h e n

e . p a n t r y

f . d i n i n g

g . s t u d y

h . p o r c h

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a . f o y e r

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level 1, on level 2, on level 1, off level 2, off

kudottu kampusaalto university, campus 2015

The Knowlton School of Architecture’s GUI Com-petition for fourth year students was a mock Aalto University, Finland Campus 2015 competition. The purpose was to design an attractive, lively center for the campus area between 48,000-52000 m2 (gross floor area). Being the largest assigned project in the history of the competition and in my academic career, its challenging site, lack of sunlight most of the year, and rigorous competition programme, taught me how to be more organized and bolder with my approach.

After research on international campus safety and Finnish culture’s popular willow weaving, my objec-tive was to weave the art/design, architecture/land-scape, and film/theatre schools while preserving the exisiting circulation routes, but alternating them in a more effective and efficent fashion.

To completely understand my idea, I built a plexi-glass wall around the perimeter of the site and wove string to symbolize the circulation and views I wanted to preserve between the existing buildings and entrances of those buildings. I then wove deco-rative mesh, which represnts a woven steel struc-ture and shrink wrap through the strings to form the integrated structure with a transportation hub core above the metro station. The density-chang-ing shrink wrap represents glass panels, and its density is determined by what program needs light the most. The new heart of campus integrates the woven schools and circulation, including the street that was moved underground, and the separated pedestrian and bicycle paths.

Autumn Semester 2012Instructor: Sam Rosenthal

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film + theatre

art + design

architecture + landscape

schools’ legend

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A villa is a country house for the elite, surrounded by gardens and vineyards to highlight its wealth and importance. Across centuries, villa gar-dens once located in the suburbs of Rome have become public parks for recreation and fresh air for its citizens. In the same way a villa becomes a sublime creation in an elborate lansdscape, the “re-unification” that is the Art Center becomes the new precious artifact within the pre-existing Villa Borghese landscape.

The views that are accessible by design, St. Pe-ter’s, MAXXI, Piazza del Popolo, Termini Station, and the Colosseum, are highlighted for their role in the fabric of the city comprised of monuments. All viewports come together to form a 5-headed complex uniting a series of contemporary media. Each tube houses a different artist, with space for a workshop and a place to exhibit each artist’s work above. Similarly, other types of artists such as chefs, writers, and thespians, reside and work above their “gallery” space.

Structure and circulation respond to the dynamic form that results from the intersection and collabo-ration of each artist’s domain. The division of public and private zones is also acknowledged through the East and West wings of the design center and within the circulation through the tubes. Visitors can only enter on the first level and pass the artists’ residence on their way up to the gallery through the core. The old Cosenza entry is also recycled in the design, emphasized by the inverted tube entry, drawing attention to the public entrance.

Spring Quarter, 2012, Abroad in Rome, Italy Collaboration with: Liz Fischer & Azzalee GethersInstructors: Kay Bea Jones & Beatrice Bruscoli

re-unificationpubliCITY12: re-cycling ruins

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PUBLICPRIVATEPUBLIC

RESIDENCEWORKSHOP

WORKSHOP

GALLERY

GALLERY

primary program

secondary program

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PUBLIC

PUBLIC

PRIVATE

level 1

level 2

level 3 52

integrationcincinnati performance hall

The new Cincinnati Design Center pulls the two contrasting cultures of Main Street and Walnut Street together on the block between them off 8th Street. Each street and culture has its own entrance, which merges with the other in a building containing a collection of “floating” planes.

The diverse compenents of the program are united and interact with one another in an open triangulat-ed shell. the form of the shell follows the function of the design center and guides visitors throughout it. The apatures that the triangulation creates form views that allow for further interaction, inside and outside the shell.

Winter Quarter, 2012 Instructors: Brandon Clifford

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a. LOBBYb. TICKETING & LOBBYc. CAFEd. RETAIL SHOPe. STUDIOSf. SUPPORT SPACESg. LARGE AUDITORIUMh. LARGE GALLERYi. SMALL GALLEYj. SMALL AUDITORIUMk. ADMINISTRATIVE OFFICES & MANAGEMENTl. LOADING BAY

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gardens to fortscolumbus food fort

Inspired by “Farm to Table” food entertainment, “Gardens to Forts” allows guests to pick or catch their organic food and bring it to stations for prepa-ration.

The site responds to its surrounding areas, includ-ing Downtown Columbus, Short North, and Arena District. The program revolves around its nucleus, the aquarium, which is penetrated with circulation and facility. The landscape is carved into gardens that serve as another place to pick up food and ways to access the upper levels. Guests are able to access the interiors and exterirors of the aquarium and gardens from multiple locations across the site. The site vectors, aquarium, and gardens collab-orate with and respond to one another, creating multiple moments and routes of entertainment.

Autumn Quarter 2011 Instructors: Mike Baumberger

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aquarium

fort

circulation

garden

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the bulgeknowlton hall installation

After researching and making site plans of the Battle of the Bulge’s movements, we represented it in a small three-dimensional model with decorative mesh, yarn, tacks, and clothes pins. We chose a secluded stairwell in the Knowlton School of Archi-tecture that has a cement column penetrating the landing for the large scale model’s location.

After weaving multiple panels of wire to form our own custom mesh, the bulge became a self-sup-porting object that people could walk inside and around. One is guided into different positions by the shaping of the bulge and the positioning of the strings.

Mack Scogin Merrill Elam Architects based the design and position of the structural columns of Knowlton Hall on the pathways pulled from The Ohio State University’s campus. To follow a path-way used to position the columns, the bulge wraps around the stairwell column, in line with the vector to view another column across the South Garden of Knowlton Hall. To make it visible for all heights, we guided the participant of our installation to crouch down to view the other column.

Spring Quarter, 2011Collaboration with: Ross YoungInstructor: Zach Snyder

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exterior interior

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GRAP

HIC

DESI

GNall’estero in italia, 2012

KNOWLTON SCHOOL OF ARCHITECTURE, THE OHIO STATE UNIVERSITY

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per/corsi di roma

sunday 27 may @ 7pmfrane letterarie

via san martino ai monti, 7

[percorso: n. journey, way, walk, course, route, trek

v. go through, go across, walk, travel, wander]

Invitation to Italy Map Exhibition (above)10/86 pages from Italy Study Abroad Publication (left)

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july

august

september

october

november

ANTHRAX

CHOLERA

DENGUE

EBOLA

SALMONELLA

SWINE

FLU

H1N1

disease n’ dots2012 top global diseasesvisualizing global marathon | challeneg 1

*dot size = intensity of outbreak/number of cases

1-100 100-500 500+

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“40 KSA students developed 15 projects for the Data Visualization Challenge, part of the 2012 Visualizing Global Marathon held over the weekend of Novem-ber 9-11.

The Knowlton School of Architecture ran its own internal competition in coordination with the larger Global Marathon, recognizing the top three projects developed for the KSA Competition. KSA Compe-tition winners received $1,000 in prize money. The School’s participation in the Global Marathon, and oversight of the internal KSA Competition were managed by KSA Architecture Assistant Professor Karen Lewis.”

Entries to both the larger Global Marathon and the KSA’s Data Visualization Challenge competition forcused on one of three Visualization Challenges: Disease Alerts, understanding the Global Flights Network, and Contexualizing the U.S. Presidential Election in Social Media.

KSA Competition Winners:

First Place: Elizabeth Fischer and Patrick Voka-ty for “diease n’ dots”

Judges:

Deb Georg, KSA Landscape ArchitectureDoug Graf, KSA ArchitectureLisl Kotheimer, Landscape Architecture Karen Lewis, KSA ArchitectureMatt Lewis, ACADRachel Kleit, KSA City and Regional Planning

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Piazza Navona, Rome

Atop Piazzale Michelangelo, Florence

Piazza di S. Maria in Trastevere, Rome

Pazza Santa Croce, Florence

Piazza di S. Bartholo, Rome

Ratto di Proserpina, Rome Tempietto, Rome

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“1525” (pen and ink)

“Elliott Anne” (ebony pencil) “Moulin Rouge!” (colored pencils)

“Booth Scandal” (acrylic paint, colored pencils, markers)

“Busch Bottles” (colored pencils)

“Crossing the Hudson” (ebony pencil)

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