ADAMBARNSTORFFARCHITECTURE PORTFOLIO

How you climb a mountain is more important than reaching the top.

Yvon Chouinard

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lake nokomis community center

k(Not) architecture

drawing for design

heath ceramics

textile center

1212 University Ave SEApt 108

Minneapolis, MN55455

Adam Barnstorffbarn0448@umn.edu

920.530.9119

1 lake nokomis community center

This project called for a new community center for Lake Nokomis in Minneapolis, MN that was designed based on inspiration from the site. When experiencing the site for the first time I became intrigued with the interaction of a walking path along the edge of the lake. The tree line obscured the view of the lake most of the time, but did allow intermittent views to the lake.

When designing the community center, I explored how the building could grow out of this edge condition, and incorporate the tree line into the design.

The building extends into the landscape to work at a larger scale across the site. Half walls were placed throughout the site to provide seating for users on the walking path and the beach.

above: perforation of edge site scalebelow: perforation of edge building scale

above: site and building plan

above: perforation of edge site scalebelow: perforation of edge building scale

above: view from gathering roombelow: lake elevation

above: view from the beach

above: experiencing the edge

2 k(Not) architecture

This was a project of interpretation. Starting with a knot and through several different iterations I was able to interpret movement of the knot into organized space, design the underground space, and understand how light affects space.

The knot used in this project was a sheepshank. The knot was symmetrical and made up of vertical loops that are held together by horizontal bindings. In my abstraction of the knot, I was able to convey the two main features of the knot throughout the project.

I designed an underground space that was inspired by the sheepshank knot. The organization of space and movement through the space was based on the vertical loops and horizontal bindings.

As the space was designed, I incorporated the use of natural light within the structure and explored how light interacts with each space making it livable.

above: volumetric of underground space

above: focused light from above

above: light flooding from aboveabove: movement in section

3 drawing for design

This project was designed to transform a three dimensional object into a two dimensional drawing. By using techniques such as sections, elevations, and axonometric, I was able to deconstruct the complex shapes of the machine part into simple forms.

4 heath ceramics

This project was an exploration in materiality. The project called for a new complex for Heath Ceramics located in the warehouse district of Minneapolis, MN. The complex was to be made up of two buildings, one serving as a showroom and the other a ceramics factory.

In the first stage of this project I explored the two buildings as separate entities. I created MDF boxes that later developed into a concrete showroom. The factory was created by using Vierendeel trusses. By exploring these two construction methods, I learned that each material has limitations.

After exploring each part of the complex individually I explored how the two buildings could have a conversation with one another. The two buildings are created on the same grid and joined together by a mass. The mass connecting the two buildings form an outdoor courtyard that serves as the entrance to both buildings.

The L-shaped courtyard was created by adding a wall, limiting the street access and directing the users attention to the factory. By creating an entry in the courtyard, it encourages occupants of the complex to interact with both buildings.

above: exterior courtyard spaces

5 textile center

In this project I explored how programming could shape an architectural project. The project was to redesign the Textile Center of Minnesota that would allow for an expansion of their current facility. While exploring the textile center, I discovered there were three levels of program; public, semi-public, and private.

The three different levels of privacy in this project fueled my choices of materials in creating three forms on the site. Each was represented with varying transparencies. The private spaces were organized into a solid mass. Semi-public spaces were elevated off street level, and the public spaces on the street level were an extension of the street.

carve space out of private mass respond to future growth insert floor slabs

insert floor slabs mask semi-public programming transparent street level

right: 1st floor planfar right: 2nd floor plan

The facade of this building was designed to mask the majority of the semi-public program in the translucent glass shell. It is only during special occasions and events that the facade of the building would be back lit to begin to reveal the activities within the shell.

The back lighting of the facade became a major part of the design of the building. It could become an iconic feature that would attract attention and growth to this revitalizing area of University Avenue.

below: longitudinal section