portfolio Nicholas Miyamoto Reiter

university of wisconsin_milwaukee
bachelor of science in architectural studies
honors college degree
magna cum laude

email: nmreiter@gmail.com
web: www.2aem.blogspot.com
tel: 651.343.7211
| 420 | A High School for Film | Steinmetz |
In film, a series of still images are linked together in a systematic scene revealing a desired mood. Experiencing
both film and architecture through time manifests the latent spirit in both media. Adopting this perspective
brings new insight regarding ideas of atmosphere, aspects of experience, light, sound, views, rhythm and plot.
Architecture viewed through a cinematic lens. The High School for Film is composed of a series of sectional studies
inducing memory and injecting spirit at precise moments. The experience through the school parallels that of plot
in film. A subjective idea of ‘forward’ movement [plot development_movement through space] is met with breaks
[choice] and reunion [culmination].

A path cuts through the school like a river through a valley. It meanders; winding around studios, labs, a library,
site of analysis
classrooms, auditoriums, and informal spaces creating the procession. Rhythms seduce an individual through
the space, offering, in exchange, a memory of the path. In both plan and section thresholds are experienced;
compressed areas foreshadow large, open space provoking an intrinsic, emotional response. This path is not
prescriptive; numerous interstitial spaces offer students chances for ownership over their environment [like the
branching delta of a river]. Catalytic courtyards of bioremediation address decades of industrial neglect,
providing restorative environments for backdrops, contemplation, engagement, and inspiration to the spirited
student.
 the story is told in section

CUT_1

CUT_2

CUT_3

CUT_4

CUT_5

A film is therefore the outcome of a succession of phases, both material and otherwise , in the course of which
the images acquire form. During this process, the “mental cinema” of the imagination has a function no less
important than that of the actual creation of the sequences as they will be recorded by the camera and then
put together on the moviola. This mental cinema is always at work in each one of us, and it always has been,
ssec
ctio
tion_1
n_1:: entr
tranc
trance
an
ance_lobb
e_l
lobb
ob y
even before the invention of the cinema. Nor does it ever stop projecting images before our mind’s eye.

-Italo Calvino in “Six Memos for the Next Millennium”

process_models
“a river runs through it”

[left]
strip model

[middle]

clay massing model

[right]

ribbon model
 [right]
section_2: transitional_space

[below]
elevational studies

west north
nor
orth
t east so
sou
ssouth
outh
th

cut_line
exercises: classrooms: light_shadow
light shadow The classrooms offered opportunities
pp for experimentation
p with light.
g A number of design
g options
p were executed to create qualities
q of space.
p A recessed ceilingg
provides a threshold of entry. This lower ceiling creates a darker volume; an entry portal. The exterior wall was pulled away, segmented, and shifted to catch
southern light. Light washes these surfaces indirectly lighting the space for learning. Pulling this wall away from the volume created an area for overhead light
to balance the darker space at the entry; a new inhabitable space results. Its quality is both interior and exterior simultaneously; the user is bathed in the light of
learning.

pod_1 pod_2 pod_3

parallax
Courtyards facing the street offer a new experience at a faster
pace. With the addition of speed a rougher, but equally engaging
experience is created. Utilizing the properties of parallax surfaces
enclosing the courtyard are experienced changing from complex
edge conditions into simple planes or vice versa. This phenomenon
is experienced twice as a car travels along the ‘industrial’ edge of
the high school.
simple edge condition p.o.v. shift complex edge condition complex edge condition p.o.v. shift simple edge condition
 articulation of metaphors
metaphor materialization

classroom pods
[ light box ]

vegetation
[ ribbon ]

circulation
[ river ]

trees
[ windbreaking_sunshading ]
 sec
ectio
tion_3
tion_3
3: gath
ather
at ering_space

river prairie film labs_library circulation_gathering_displaying film studios_classrooms ecotone amtrak

naturalistic mediation industrial

[ revitalization ] [ architectural_intervention ] [ palimpsest ]
s ctio
section_4
n_4:: tran
transit
sition
n sec
e tio
tion_5
n_5:: tran
n_5 tran
a isttion
an on

[ interior ] vs [ exterior ]
[ experience + rhythm diagram ] [ sectional relationships + programatic descriptors ] [ drama ]

pace_of_city:
arrival

entry_sequence:
decompression
anticipation

mystery

lobby_threshold:
re_orientation
sky

spatial_compression: visual_release

anitcipatio
on
spatial_release: visual_compression

operations classrooms: debate classrooms:

watching

recycling narrative view maps politics tables graphs

story telling kids

history mathematics
threshold:
interior_exterior ambiguity garden terrace meeting
gossip
performance laughter discussion
research
charts calculations operations

periodicals media fiction

religion movement interaction cramming classrooms: discovery classrooms: writing
mixing chamber science
discovery

books literacyy
biography
reading poetry
magaazines language
labs
elevational_change:
river_prairie experience
landscape arts philosophy inspiration
multilingual books
walking
experience listening
security
studying experiments
environment reading
english
g
displays
video electronics information
graphics inspiration reading room puppets collaborating
constructing
workshop
computer learning post-production editing
gaming sharing
living room memory film studio
competing
nature
receiving printing
philosophy
grass
work stations global connections technology
play trading floor snacking
gallery auditorium napping performing
g arts creating music
amtrak
industry
y discovery
trees
river

‘public’_plaza:
interaction + media platform

repose

‘individual’_ retreat:
inspiration + retrospection

industry nature
earth
[ snapshots ]
walking_the_path

The plan instills rational. But, we live in the third dimension;

experiencing space through time. Careful design
executions within the third dimension [the section] give
weight, gradient, and spirit with which to experience
space. It is the careful weave of the horizontal experience
[travel] with vertical cues [enclosure] that bring about an
elevated sense of awareness within time and space.
1 2

3 4 5 6 7

view__1
vie

view_2
view_2

view_3
view_
ie
ew_3
ew

view_4
iew_4
ew_4
ew_
w_4
w _4

view_5
view
v iew_5
w_

view_6
view_

view_7
view
v ew_7
ew
w_7
7
 environmental influences

| 633 | Interactive Library| Frankel |

[ group project ]
Ted Kimble, Emily Verch, Nicholas Reiter design_studio

Social research and deisgn excellence

combine to create a new working environm men entt
for the Haworth Ideation Research Team. A
group effort to strategically identify core va
alu
lues
es advanced_development
and reinterpret workplace environments ha as
as
manifest a space aimed to adapt and prov vidide
e
inspiration to a dynamic work group. +

With concerns for communication and a de esi

sire
re
to bridge into the twenty-first century, a uniqu
que e sharing
and innovative piece of architecture was
ideation_services ideation_research
designed.

A traditional material and reserach library was

wa s
+
vertically integrated with a stair set creating
g
pockets for creativity. + inspiring
pieces in making a whole
This twentieth century library was then encaase
sedd
collaborative_design
in a screen of interactive touch screens to aid
aid
in innovation and communication between n th
the
e
design team and headquarters in Holland, MI. coordination [ as in ]
model shop project room storage resource library team room research library

innovating
orchestra
with Haworth as conductor

core areas of focus

design__studio

core areas of focus

ideation_research

core areas of focus

ideation_services

core areas of focus

ced_development_group
advanc

Kirsh, David. Distributed Cognition, Coordination and Environment Design.

Dept. of Cognitive Science: Univeristy of California-San, Diego, 1999.
mobile collaborative connected
Studies from the conceptual stage reflect ideas of
axis, view and explore sectional quality. Material
qualities, texture and sequence through space
are facilitating current exploration.

ideas

[ prod
produ
uct ]

cognitive
e
offloading

collaboration
 filling the field brings the total to

substance: bottle caps

scale: very small
texture: highly textured
luminance quality: opaque
700’ plastic tubing
cost: ¢ ¢ ¢ substance: consumer product(s)
scale: various
texture: slick
luminance quality: opaque
discovering latent pro
operties cost: $ $

su
ubstance: straws

| 615 | Microcosm| Talbott | plasticity [pla-stis-i-tee]

sc
cale: very small
te
exture: smooth
lu
uminance quality: directional
–noun cost: ¢ substance: tubing
The first principle of the Microcosm Studio is: Design should always start with 1. the quality or state of being plastic.
scale: small
texture: smooth
materials. The following is the product of such thinking. Starting with a plastic
300’
2. the capability of being molded, luminance quality: fiberopttic
receiving shape, or being made to cost: $ $ $
material the designer began a dialogue to uncover a latent property that could assume a desired form: the plasticity
of social institutions; the great plasticity
manifest into a piece of architectural installation. Harnessing the changing light of clay
plastic tubing
conditions produces variation throughout the day. Due to density, chemical
composition, and thickness a variety of luminous qualities were achieved. pliable
–adjective
[plahy-uh-buhl]

su
ubstance: pop bottle
1. easily bent; flexible; supple: pliable sc
cale: medium
leather. te
exture: potential
2. easily influenced or persuaded; luminance quality: translucent/transparent sub
ssu u
ubbst
bsta
b staannce:
nc ce
ce:
cee: x-ray
-ra
--r
ray
rra
ay
ay ssheetshee
h
heets
he eets
ee
e ets
etss
coost: ¢ ¢ ¢ - $ sc caale
a
al lle
e: llar
la
a
arrrg
rge
ge
ge
yielding: the pliable mind of youth. ttexext
extu
exxtttuurre
u e:: ssl
sle
leak
leak - roug ou
ough
o ug
u
ugh
gh
3. adjusting readily to change; substance: fibers/wire llum
lumi
um
umin
mina
mi
m in
naanc ce
c eqquua ality:
ali
ality
alit
llity
liity
lity:
lit
iity:
ty
tty:
y:: tra
y trans
tran
rans
a sp
an pa
parent
paren
pare
pare
arent
arrre
a ren
en
adaptable. scale: small tto
o ttra
ra
ranslu sslu
lu
luce
uce
u
ucce
c ent
nt
texture: various co
coost:
st: $ $ $
luminance quality: application
cost: ¢ - $ $

luminance [loo-muh-nuhns]
–noun rigid malleable + flfle
exi
e
ex
xxiib
ble
le
e

1. the state or quality of being luminous.

[ installation promoting discussion ] 2. Also called luminosity. the quality or 102 voids

condition of radiating or reflecting light:

the blinding luminance of the sun.
48 void
ds

translation:
5,000 voids filled b
by

7,000 + tube
combinations
bi ti
[ field ] [ rules ]
regulator framewor
w k infilll

01 02
2 03

modules densify a 01. larg

a e 02. medi
m um_small 03. smal
m l_small_small
a
field according to d: 1/2”_
/ 5/8” d: 3/8”
/ d: 1/4”_
4 5/16”
4”
the following user
defined rules:

[ agitate ]
- verb

to cause to move with an irregular,

rapid or violent action;
discover to excite, upset or disturb; shaken

intrigue

question

inspire

ponder

disscusss

learn
n

delightt
luminance color density unpredictability

combination derives visual effects

| 410 | Lampshade Hotel | Datey |
Given a highly dynamic site set in a challenging urban condition with
adjacency, view, and accessibility concerns students were to program
a boutique hotel. Redefining the program an experiment with light and
surface was explored after isses of form were resolved. The façade of
this hotel changes its properties based on the time of day and quality of
light. During the day the volume appears to cascade across the surface,
blanketing the volume. At night the structure stands illuminated against
the night sky; user interaction defines the gradient.

day night hybrid media collage

| 320 | Path through a Prairie| Sen | Honorable Mention |
Abstraction of tectonic kit of parts through the analysis of a precedent creates
harmony between path and site. A material palette was inspired by Peter
Zumthor’s St. Benedict’s Chapel. Site analysis to respect the need for bird
watching led to a split observation deck, framing important features found
on site. Views are accentuated or screened based on dominating features.
Massing, skeletal, and skin elements begin to push, pull, and weave about
a constant path. Primary, secondary, and tertiary support systems provide
added rhythm and echo the ecotone of forest to prairie. Issues of water
retention, incorporation, and reuse were considered during process iterations.
[ Rouse[d] International Design Competition ]
| 2A_eM | Slow Down Detroit| Honorable Mention |

Creating infrastructure that engages the too-

often passed over beauty of Detroit, the proposal
identifies places along a winding path through
the city proper and suggests the placement of
framework on the sites for an engagement with
the senses.

The idea of sense connection overrides any

formal ‘programmatic’ space. Latent beauty
exists in each place. Both our urban-scale and
site-specific-scale proposals create a framework
to experience that beauty in a human-scaled
and time-scaled way.

Like drops into placid water, the rippling outward

affects the surface, like the nodes affecting
change within the local community

Detroit is people: culture, not cars; diversity, not

homogeneity; defined by actions, not products;
and has potential for local creativity, not bailout. [ above ]

A new City exists now. Just look [and feel and ripple effect diagram
m
listen and touch and taste]. [ right ]
spiraling clockwise from centerr
And Slow Down
rally point
riverfront reflection barges
community farmhouse
partners;
the depot park
interstate prairie Nicholas Reiter
star gazing platforms Jessica Wilcox
belle isle multi-use path
Peter Nguyen

www.2aem.blogspot.com
[ reflection ]
From the shorter exercises in my first few years of architectural study I have discovered common themes
running through all of my work. At the end of my junior year I was equipped with the critical problem solving
skills for working with a complex site condition while researching, exploring, and combining four main themess
that have come to define my work. These themes are concerned with harmonizing and engaging the
natural environment, developing a deep, personal connection with the element of water, responding to the e
years of degradation due to previous industrial processes, and experimenting with the aesthetic qualities of
daylight.

Blurring the Boundaries; Working with the natural environment to heighten awareness of time space and
awaken a sense of self. The architecture of the school acts as a mediator between the remnants of an
industrial valley and a restored natural strip of green running along the Milwaukee River. Furthering this
narrative, the structure erodes towards the river edge allowing the natural to surround and penetrate. A
single material choice guides one through the high school on a path through compressive and expansive
spaces echoing the metaphor of a river.

Working With Water; Harnessing the potential in water as a reflective, contemplative architectural piece
as well as promoting more pragmatic functions such as collection, harvesting, and recycling encourages
education and a lasting connection throughout the site.

Bioremediation; The idea of remediation and contemplation is exemplified in this semester long project
during the height of my academic career. Strategic courtyards and vegetation serve as remediation
gardens to mitigate the negative impacts of years of industrial abuse and neglect returning to the river’s
edge a healthy native prairie.

Painting With Light; The plan opens to the river paying homage to its restorative, inspirational and meditative e
qualities. A desire to manipulate light is born. Like water, light has the ability to wash, restore, and embrace
surfaces. The desire to utilize day lighting begins to call back to the initial desire of harmonizing with
naturalistic elements. It dances across floors and paints wall surfaces. Light is alive, active and temporal. It
breathes life into well-considered designs.

In thinking through the various scales of a complex design these four themes have driven the form and
experience. This work is the first of many studies to begin to combine, synthesize and express my design
lexicon. Polishing my design ethos is a life long process in the search for truly harmonious and inspiring space
e.