nathan.skrep@gmail.com Los Angeles, CA USA 972.768.0407 www.polyhedronstudio.com

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NATHAN SKREPCINSKI[resume]

Objective Architectural Visualization Consultant / Designer

Experience 2011 November – 2013 July Morphosis Architects, Culver City, CA

Project Designer, Visualization SpecialistProduced over 150 images for 16 national and international projects at various stages of

design and construction Managed the rendering department for nearly one year and set up a visualization pipelineProduced fully rendered, hybrid, and infographic style animations

2008 July – October Hensley Lamkin Rachel, Inc, Dallas, TXArchitectural InternWorked on multi-family residential projects through DD and CD phasesProduced conceptual renderings in Photoshop

Education 2011 Southern California Institute of Architecture, Los Angeles, CA Master of Architecture 2008 Texas Tech University, Lubbock, TX Bachelor of Science in Architecture, Magna Cum Laude graduate Graduated first-in-class with a GPA of 3.8 on a 4.0 scale

Awards 2011 SCI-Arc Spring Show One of three students from Coy Howard’s studio to have work exhibited 2010 Fall vertical studio work published in Interior Architecture of China

Magazine, April 2011 issue 2008 Banner Bearer for the College of Architecture at the Texas Tech graduation ceremony

Skil ls Software Proficiency

Maya, V-Ray, Rhino, ZBrush, Maxwell, Photoshop, Illustrator, InDesign, After Effects, 3ds Max, SketchUp, MicroStation, AutoCAD, Microsoft Office

ScriptingGrasshopper, Processing

LanguageEnglish (native), Japanese (intermediate)

References Available upon request

UNLIKELYTHINGSi n a l i ke ly wor ld

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GRAD THESIS

Architecture is spatial storytelling. It has a unique ca-pacity to uncover as well as tell stories. As a language it can negotiate the threshold between matter-of-fact reality and mysterious spatial happenings. Drawing on the literary genre and aesthetic style of magical realism, in which the real and the fantastic are accepted in the same stream of thought, this thesis employs a narrative model that weaves together a bevy of oppositions: fact/fi ction, objective/sub-jective, technological/natural, rational and magical, to of-fer alternatives to the autonomous presumptions of archi-tecture.

Locating itself in the liminal territory between fi ction and architecture, this thesis uses the unfi nished and abandoned Sathorn Unique Tower in Bangkok as a skeleton for dreams. Incomplete architecture, or that which is otherwise unfi n-ished, opens up to the realm of imagination. It exists in a suspended state that creates tension for the viewer and a desire for completion. The Sathorn Unique Tower, which com-bines just the proper mix of glitzy and gritty, offers the perfect framework in which to realize this potential.

01

Recent trends have seen architecture turned into an art form of the instant visual image, where fl atness of surfaces and materials and uniformity of illumination cause architecture to exist only in a single moment in time. Perfection and completeness further detaches the architectural object from the reality of time. To return to a multi-sensory experience of architecture, this thesis takes an approach some might consider outside the discipline to design a series of scenes, rather than a building, that investigate spatial and sensorial experiences that are independent of func-tion. For example, a scene describing how light fi lters through a cavernous shaft or the parallax created when moving through an improbably expansive network of exposed columns and beams.

Whereas the inevitable effects of aging, weathering, and wear are not usually considered as conscious and positive elements of design, here they are used along with light and shadow, weight, gravity, materiality, and color to produce effects that are not based on form. These haptic elements, combined with architec-ture’s potential as a storytelling language, allow it to go beyond existing in the perpetual present and to instead evoke the experi-ence of a temporal continuum and to create a fi eld of unpredictable potentials.

“Light Through Vertical Space” “Vertigo”

“Architecture of Density”

MECHANICALROMANTIC ISM

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COY HOWARD STUDIO02

This unique studio focused on rep-resentation and developing a per-sonal aesthetic. It was also about learning to transcend the indi-vidual elements of a project and let them become about something. The studio was divided into three main parts.

The fi rst focused on making a “junk sculpture” out of found objects that went beyond being a mere col-lection of parts, or even a com-position, to being an object with form. The second part did the same thing but in two dimensions using magazine cutouts and an additional element of typography.

The fi nal part involved designing a building for a fashion designer; however, the focus was on design-ing an image. Therefore, these are not pictures that depict a build-ing, but images that have reso-nance, depth, and a sense of mys-tery.

Collages with Typography

Final Building Images

Junk Sculpture

ARTIF IC IAL MATTERS

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FALL 2010 VERTICAL STUDIO03

MILAN EXPO 2015TAIWAN PAVIL ION

Synthetic Material

performance centre

thematic area 6cascina triulza

thematic area5

corporate area thematic area 3

thematic area 4

Italian pavilionthematic area 1greenhouses

amphitheatre

thematic area 1hill

thematic area 5

expo villageexpo village

thematic area 1agro-ecosystems

decumano

card

o

Material has two characteristics: its physical properties and a sensa-tion. Normally, the physical prop-erties of a material produce an expected sensation. This project focuses on breaking or blurring the link between these two charac-teristics to create a new, artifi -cial matter with a hyper-realistic experience.

We used the architectural envelope and landscape of a pavilion designed for the 2015 World Expo in Milan as a means to explore this synthetic material. Taking two recognizable materials, and controlling the ge-ometry, texture, and color, we tried to shift the way the material is perceived.

We focused on using two materials with contrasting properties such as soft and hard, vibrant and mut-ed, sturdy and fragile, etc. and by weaving them together, allowed fact and fantasy to co-exist.

Hyper-Realistic Material

Section and Cut Plan

Pavilion with LandscapeExpo Map with Site

(in orange)

TOKYO FASHION MUSEUM

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SPRING 2010 STUDIO04

Tokyo is like an endless sea of static boxes; however, Tokyo’s urban fl ow is anything but static. Omotesando Street in Tokyo is a street that serves as an archi-tectural showcase and is home to a number of fl agship fashion stores. As a street it begins to embody the movement of people attracted by the ever changing trends in fashion and entertainment. We wanted to capture this incredibly dynamic fl ow in a building. As a museum of fashion, we drew upon the movement of fl owing fabric and

the designs of Japanese fashion designer Issey Miyake. In the end, we still have to freeze the building in time, but we wanted to create an appearance that was always changing, for example with the time of day or with Japan’s distinct seasons. It exhibits the fabric-like qualities of tearing, tightening, splitting apart, and peeling away at certain moments to reveal the inner body. Just as a dress needs a body inside to be truly beautiful, we also need an internal body to become architec-

ture rather than merely sculpture. The folding does not stay solely on the outside. Curves fall-ing from the ceiling, appearing to be pulled by the displays they showcase, create circulation from above without adding obstructions to an already constricted fl oor space. Ultimately, the museum serves as a cultural nucleus for Omotesando and both embraces and expels its dynamic atmosphere through its folds.

Winter

Street Perspectives in Various Seasons: Spring Summer

Interior Exhibition Spaces (above) Runway (below)

TERRACE

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[M]

BATHROOM

BATHROOM

OFFICE

STORAGE

JAPANESE GARDEN11th FLOOR 40.0M

ROOFROOF 44.0M

EXHIBITION 1980’s6th FLOOR 20.0M

EXHIBITION 1990’s7th FLOOR 24.0M

EXHIBITION 2000’s8th FLOOR 28.0M

RUNWAY9th FLOOR 32.0M

BALCONY / SKYBAR10th FLOOR 36.0M

EXHIBITION 1970’s5th FLOOR 16.0M

EXHIBITION 1950’s - 60’s4th FLOOR 12.0M

EXHIBITION 1930’s - 40’s3rd FLOOR 8.0M

EXHIBITION 1920’s2nd FLOOR 4.0M

ENTRANCE HALLGROUND FLOOR 0.0M

PARKINGP1 -3.6M

PARKINGP2 -7.0M

UP

UP UP

SOUVENIR_SHOP

INFORMATION_DESK

BATHROOM

OFFICE

PARKING_ENTRANCE

OFFICE

TERRACETERRACE

OPENING

UP

UP

Birds-Eye Site Perspective

Elevation and Section

Typical Exhibition Floor Plan Ground Floor Plan

Primary Facade Structure(Tube Steel)

Secondary Facade Structure(Steel Channels)

GFRP Panels

Metal Decking

Glazing

Beam Casing

Primary Facade Structure(Tube Steel)

Secondary Facade Structure(Steel Channels)

Metal Decking

Interior Wall Panel

Metal Decking

Finish Floor

Concrete Slab

Primary Floor Structure(Steel I-Beam)

Ceiling Panel

3-D Structural Chunk

Combined Structure

Tube Steel24” x 32”

Concrete Core

Steel I-BeamsW30x292

Exterior Structure Slabs and Core

Glass Fiber Reinforced Plastic (GFRP) Panels

A8.1 Elevation

1

2

3

A8.1 P

Surface Panelization

WALL / FLOOR ASSEMBLY

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25

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36

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1. 5” GFRP Panel2. Anchor Bolt3. Silicone Joint Sealant4. Weatherproofing5. Bolt6. Steel Channel7. 2” Steel Decking8. Air / Vapour Barrier9. 10” Rigid Insulation10. Steel Channel11. 24” x 32“ Tube Steel

12. Steel Channel13. Interior Drywall14. 24” x 32“ Tube Steel15. Steel Plate16. 2” Finish Floor17. Concrete Slab18. 3” Metal Decking19. W30x292 Steel I-Beam20. Suspended Soffit21. Steel Support Structure22. HVAC Duct

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1A10.0

PANEL CONNECTION DETAIL2A10.0

1A10.1

2A10.0

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Outside

Inside

1. 5” GFRP Panel2. Silicone Joint Sealant3. Weatherproofing4. 2” Steel Decking5. 10” Rigid Insulation6. Steel Channel7. Air / Vapour Barrier8. 24” x 32“ Tube Steel9. Beam Casing10. Glazing11. Interior Drywall

Assembly Details

Primary Structural Systems