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ARCHITECTURE

LUKE HAASTHE WORKS OF

OTHER PROJECTS

317.340.4547 | lk.e.haas@gmail.com

161 Rivington St. apt 1a New York, NY 10002

1

date:

ARCH 601FALL 2011

designer:

LUKE HAAS

distinction:

EARMARKED FOR SCE ACADEMIC ARCHIVE

BROOKLYN BRIDGE PARK RE-DEVELOPMENT AND MASTER PLANHOTEL | RESIDENTIAL | RECREATION

My third graduate studio project focuses on the application of a diverse program--

including a hotel and convention center, restaurants, residential units, and a

velodrome --on a small, topographically challenging site adjacent to the Brooklyn

Bridge Park and the neighborhood of Brooklyn Heights in New York City. Currently,

Brooklyn Heights and the Brooklyn waterfront are separated by the Brooklyn-Queens

Expressway, which effectively is a sixty foot cliff of unrelenting vehicular traffic. The

Architecture acts as a connection between Brooklyn Heights the new developments

along the waterfront (including Brooklyn Bridge Park and several other parcels which

are under development) through the topographical manipulation of spaces which

have been leftover since the BQE’s construction. These topographical manipulations

allow for a multileveled engagement with the site as well as an elevated, defensive

posture towards potential storm surge and sea level change. Brooklyn Heights

enjoys a panoramic view of lower Manhattan; thus, it was important that my project

be able to capitalize on these views without compromising the views of the existing

neighborhood.

BROOKLYN BRIDGE PARK RE-DEVELOPMENT AND MASTER PLAN

BROOKLYN BRIDGE PARK RE-DEVELOPMENT AND MASTER PLAN

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date:

ARCH 502SPRING 2011, TO BE COMPLETED FALL 2012

designer:

2011 PARSONS DESIGN WORKSHOP

client:

NYC PARKS DEPARTMENT

SPLASH HOUSEPARSONS DESIGN WORKSHOP

2301 AMSTERDAM AVENUENEW ENTRY SEQUENCE AND PAIR OF CHANGING PAVILIONS

The 2011 Parsons Design Workshop (a design build program operated by the School

of Constructed Environments) collaborated with the NYC Parks Department and

the High Bridge Coalition to revitalize the Highbridge Pool and Recreation Center, a

historic landmark in New York City. Due to the limited space within the existing building,

recreational programs must be suspended during the summer to accommodate

the storage and changing space required for the thousands of pool-goers. Upon

completion, the Splash House-- a pair of outdoor pavilions --will allow the recreation

center to remain open year-round and offer more recreational programs to the

Washington Heights community.

SPLASH HOUSEPARSONS DESIGN WORKSHOP

The design reorganizes the current circulation and provides new changing and

locker areas on the pool deck. The architecture uses natural systems of light,

ventilation, and water to provide a porous structure as efficient and lightweight as

possible, while simultaneously reaming sensitive to its historic context. Additionally,

the structures will include a water feature to fulfill the need for required showering

before entering the pool while also creating a playful place for children.

When the pool opens in the morning, patrons queue up to have their bags checked before entering the pool. Patrons then

steadily enter the facility throughout the day in moderate volumes. When the pool closes, as many as 1000 patrons leave

the pool at once. The pavilions respond to this daily flux of occupant volume with four 12’ sliding doors that open to larger

volumes of patrons while simultaneously converting the locker space into an enclosed changing space (see top).

3

N

date:

ARCH 501FALL 2010

designers:

LUKE HAASGLEN FUJIMURADANIELLE EPPSTIEN

distinction:

EARMARKED FOR SCE ACADEMIC ARCHIVE

RIVERKEEPER OFFICES AND OUTREACHGRADUATE STUDIO PROJECT

meeting/ class rooms

interior voids- exhibition space

laboratory

auditorium

office space

RIVERKEEPER OFFICES AND OUTREACH

Representing interior design, lighting design, and architecture, my colleagues and I collaborated

from the initial schematic phases to produce a substantially resolved project. We also strove

to developed a workflow that simulates the realities of integrated building design which will be

encounter in the field. Our client, Riverkeeper (a New York based, non-for-profit water quality

and environmental advocacy firm), outlined their needs for a building program that fulfills their

office requirements as well as their burgeoning outreach program. Further, their values as an

environmentalist organization called for an architecture that expresses Riverkeeper’s role in their

community as a leader for ethical environmental practices.

RIVERKEEPER OFFICES AND OUTREACH

4

date:

ARCH 401FALL 2009

designers:

LUKE HAASBEN FREUHLING

distinction:

FIRST PLACE AWARD

PORTLAND MUNICIPAL COURTHOUSECRIPE ARCHITECTS AND ENGINEERS COMPETITION

I consider courthouses, as a building type, to be about the law and how it can best serve

the population, and I sought to explore this throughout the design of this project. I gave

special consideration to the occupants’ experience of security and circulation and how

the two can interact. This is illustrated in the diagram above. Further, because the site

I worked with is located in downtown Portland, I felt that it was important for my design

to serve its economic context of mixed-use and retail as well. In order to respond to and

stimulate this context, I elevated the courthouse program over a cushion of retail spaces

on the first floor. This also permits enhanced security, as sensitive spaces are held above

and are protected from the street.

PORTLAND MUNICIPAL COURTHOUSE

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date:

ARCH 401FALL 2009

designer:

LUKE HAAS

MAXIMUM EXPOSUREURBAN SHED INTERNATIONAL COMPETITION

An “urban shed” is the scaffold-like canopy which is commonly

placed over the sidewalk at the bases of high-rise buildings

during times of renovation or construction. Unlike buildings, these

ubiquitous structures lack a defined context and must therefore

posses the flexibility to accommodate the myriad of urban variety.

Sidewalk sheds are inherently linear, and there may be many

miles of these sheds in a given city. A successful urban shed

should feel appropriate no mater the location of deployment,

without causing its given environment to loose its sense of place.

Thus, I strove to produce a design which is dynamic enough to

respond to any conditions while simultaneously maximizing the

exposure of the facades they cover as much possible.

URBAN SHED INTERNATIONAL COMPETITION

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date:

ARCH 302SPRING 2009

designers:

LUKE HAASBEN FREUHLING

distinction:

SECOND PLACE AWARD

BALL STATE MULTICULTURAL CENTERGRESHAM SMITH DESIGN COMPETITION

This project began as a discussion of what multiculturalism means for a college campus. My partner and

I determined that our design should be organized in a way that maximizes the extent to which different

groups of students can inhabit the same space and learn from each other. Thus, the spaces of our project

are flexible and overlap with multifunctionality. Attention was paid to an articulation of level changes which

enable groups and individuals to observe each other or meet by chance in passing. A large courtyard

intended to bring students together for informal gatherings is encapsulated by the two opposing wings of

the building. The southern wing (a small library), which addresses the street (see left-hand image), folds

upwardt to reveal the courtyard and any activities which are occurring within.

BALL STATE MULTICULTURAL CENTER

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date:

ARCH 302SPRING 2009

designers:

LUKE HAAS

BALL STATE GLASS BLOWING STUDIO

This project was developed as a response to the existing conditions of the site which was given. Its

geometry was developed with the intention of integrating the natural and the built elements while also

re-activating a network of derelict trails which circumambulate the grounds. Considering that students

tend to take the shortest possible rout to class, I engaged the building directly with the trail system;

thus the trails become the rout by which students can access the building, while a formal entrance

serves administration and visitors. As a glass blowing facility, I explored modes by which the act of

forming glass can become part of the experience of the building and ultimately the site. Within the

building, I organized the program about two kinds of gallery spaces: exhibition of act and artifact.

Variable levels of translucency were also explored.

8

date:

ARCH 402SPRING 2010

client:

DALE HARKEN

ceiling plane installation:

LUKE HAASMARK VANDEN AKKERBRAD WANAK

design team:

BALL STATE ARCHITECTURE DEPTJay Weeks

Brad Wanek

Mark Vanden Akker

Paul Reynolds

Michael Neizer

Austin Lucari

Eric Jenson

Greg Hittler

Luke Haas

Ben Greenberg

Veronica Eulacivo

coordinator: Professor Timothy Gray

“Salvaged Layers; a Collaborative Site Specific Performance project was an interdisciplinary collabo-ration between two groups of students from separate Universities. The studio challenged students to explore issues of craft, making and place through a series of full scale built interventions in a historic Indianapolis theatre which had been gutted in anticipation of a planned renovation. The raw state of the theatre’s interior gave students a rich and evocative palette to engage while simultaneously liberating them from the conventional notions of stage and audience.

Throughout the process, the activities of the architecture students differentiated themselves from that of preparing a stage set because they led rather than followed the choreography of the performance. While students were encouraged to think of installations that could define space, or were kinetic and ripe with potential for interaction, there was no narrative to which they were responding. By the same token, the theatre students were allowed to react / interact with the work on their own accord, and engaged the installations in bold and unexpected ways, amplifying the potential of the architecture student’s projects. There was a very real excitement and synergy between the two groups, and there was great consensus among those involved in the project that the collaboration resulted in a whole that was in fact greater than the sum of the parts.”

Kelly Minner, archdaily.com

performance and coreography team:

BUTLER UNIVERSITY DANCE DEPTChris Ziegler

Jacqueline Vouga

Amanda Miller

Amanda Lynn Meyer

Jeff Irlbeck

Jill Harman

Steph Gray

Joe Esbenshade

Jessica Conger

coordinator: Melli Hoppe

SALVAGED LAYERSSITE SPECIFIC INSTALLATIONS

IRVING THEATER5505 E WASHINGTON ST, INDIANAPOLIS, IN

The design team for this project was divided into groups; each group focusing on a single, semi-independent component of the installation. Some groups focused on prosthetic interventions that were tailored to specifically fit the derelict nature and physical parameters of the theater. As a coordinated point of contrast to this, my group designed a manipulation of the existing fabric of the building to produce new and dynamic spatial conditions which were derived from the existing architecture.

Further, we sought to provide a means for the performance team to modify and interact with the space itself during their performance. A continuous plane of exposed ceiling joists defined the theater space; so my two colleagues and I devised a mechanism which permitted this plane to be modified through a system of counterweights. Thus, during the performance, the ceiling plane could be disrupted more or less as the choreography required.

SALVAGED LAYERS

SALVAGED LAYERS

9

date:

SUMMER 2009

designer:

LUKE HAAS

STEEL PRIVACY AND RAIN SCREENSINDIANAPOLIS, INDIANA

I was commissioned to design a treatment for the large openings on the side of a house near downtown Indianapolis. My client had been having problems with rain water splashing from the ground onto the floor of his screened-in porch, and he approached me seeking a solution to this problem which would add interest to his home.

My proposal is photographed as installed. My client is an accomplished gardener and takes pride in the large number of trees on his property; so, I drew inspiration from the foliage of the numerous plants he keeps. Ultimately, I designed a screen which uses leaf profiles to generate apertures. the density of the leaves increases gradually towards the bottom of the screens, and this reduces the size of the apertures. Thus, splash is blocked by the lower, more solid portions of the screens. Steel was selected as the material for the screens, as it will react and record the splashing in a way that will complement the color of the brick of my clients house.

PORTA-BOWL

Though I prefer architecture, I appreciate design at all scales. Smaller objects make more contact with the human body; thus special consideration must be paid to the interface between an object and the user. With the form and materiality of the cereal bowl depicted above and below, I was interested in developing the point of contact between the hand and the vessel. Intended to be held rather than placed on a tale surface, the bowl relies on projecting, ergonomically configured handles to create points of leverage. The result is a dining object which is cradled by the palm, rather than clutched as other similar products or mugs may be.

date:

SPRING 2011designer:

LUKE HAAS

HANDHELD, PORTABLE DINING SOLUTION

HERD

Furniture has always interested me; as it seems to lie somewhere between the realms of architecture and space and objects in space. With this project I was particularly motivated by this interaction that furniture can have with space. This piece is intended to be used to create localized bubbles of focus in large public spaces with high traffic volumes. The seating consists of modules, which may vary in number, that allow for either a static configuration or an amorphous configuration (or chains) of pivoting seats. When the seats are pushed into a ring, a new semi-private space is created in their void.

date:

WINTER 2011designer:

LUKE HAAS

RE-CONFIGURABLE SEATING FOR PUBLIC SPACES

SERIGRAPHY

Depicted above and below are two of many screen printed garments I have produced. The graphics were specifically designed to be printed, and were composed using a limited color pallet for this reason. In the interest of achieving a composition which is more adept to being worn, both images were designed without a distinct graphic frame or boundary.

designer:

LUKE HAAS

GRAPHICS AND DESIGN

Throughout my architectural education, I’ve developed an interest in graphic design. Above and below are two recent commissions I was given to design the labels and image for two beers by an armature brewer. My client was interested in a clean appearance for both products and wanted the graphics to be suggestive of the two brew’s titles, Jurassic Amber and Hail to the Pale.

designer:

LUKE HAAS

Luke Haas 161 Rivington St. apt 1a New York, NY 10002317.340.4547 | lk.e.haas@gmail.comportfolio: www.lkhaas.com

Ball State University; Muncie, INBachelor of Science, Cum Laude Graduation Date: May 2010 Major: Architecture

Parsons the New School for Design, School of Constructed Environments; New York, NYMaster of Architecture Graduation Date: May 2012

Gray Architecture; Indianapolis, IN 317.926.1962Internship- June 2010 through August 2010Design Development and DocumentationPresentation Graphics

CSO Architects; Indianapolis, IN 317.848.7800Internships- May 2008 through August 2008;May 2009 through August 2009Produced and edited drawings using AutoCADWorked on a project model and created components using RevitDocumentation and field dimensioning of existing buildings

James T. Kienle and Associates; Indianapolis, IN 317.630.0064Internship- January 2006 through August 2006;Managed archival of correspondencesManaged filing system of building materials

Experienced with design and 3D modeling programs AutoCAD; Revit Architecture; AutoDesk 3d Studio Max; Rhinoceros; Google SketchUpProficient in utilization of Adobe graphic manipulation softwareProficient with Microsoft Word, Excel, and PowerPointExperienced with employment of CNC fabrication/prototyping techniquesConstruction experience though the Parsons Design Workshop, design build programProduced and sold freelance graphic design work, including silk screened prints

Parsons University Merit Award- continuing scholarship; Dec. 2010First place award- Cripe Architects + Engineers Competition; Dec. 2009Second place award- Gresham Smith & Partners Competition; May 2009First place award- Indiana Concrete Masonry Association Competition; May 2008

Work featured by Archdaily.com, Fastcodesign.com, Metropolismag.com, C3 magazine, and publicly displayed in the Indianapolis Arts Center Gallery

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