Prof

esso

r: St

udio

Titl

e:

jo-hn

{{{{ {{{{contact *JOHN BONANO

2019A GROVE AVERICHMOND, VA 23220

Tel : 919.218.9340Email : john.michael.bonano@

gmail.com

{{{{ {{{{education *

2012 - PRESENT OWNER / PHOTOGRAPHERDESIGN INNOVATION, LLC

2011 - 2012INTERN ARCHITECT

3 NORTH ARCHITECTURE

2010 - 2011 DRAFTER

KARN CUSTOM WOODWORK

{{{{ {{{{experience *

2006 - 2010 NORTH CAROLINA STATE UNIVERSITY

COLLEGE OF DESIGN

2009 - 2010TEXAS A&M UNIVERSITY

SCHOOL OF ARCHITECTURE

inde

xin

dexx

inde

xin

dex

inde

xin

dex

VISUALIZATION *ROYALL & COMPANYSTEWARD SCHOOLREDSKINS FACILITY

CHESS AND BILLIARD FASHION THEATRE

BUDAPEST CITY HALL{{{{ {{{{professional *

MOVEMENTMATERIALITY

ANALYSISADAPTATION

TRANSFORMATIONLOCATIONTENSION

TECTONICSVERNACULARORIENTATION

{{{{ {{{{academic *

Prof

esso

r: St

udio

Titl

e:Pr

ofoeses

sosor:r:

Studud

iooTTi

titlele::

P ac

ad

em

ic

Prof

esso

r: St

udio

Titl

e:Pr

ofofeseseseee

sososososoor:r:

StStStSSSSududd

ioioioioiooTTTTi

titlele:

P

MOVEMENT * n

Wei

ling

He, T

exas

A&M

Uni

vers

ity A

RC50

2 Vi

sual

Com

mun

icat

ions

\ˈ\ müv-məməməməməntnn \

ththththheee act ofoffofof cccchahahahahangngngngnginininining innnnin placecececec or poposititiiononon; ;; a particular manner of moving

PrPP ojojojojjeceecee t Deeeeescscscss riiiiiptptptptptioioionn:nnn VVVVVisssuuuauau l cccococommmmmmunuu ication, describeededede as thhhe e e e e cococococonveyyyyy-anananaa cecececece of idddddeaeaeeae s sss ananananand d ininnnnfofofofoformrmrmrmrmatatatatatioioioioi n nn n ininininn fororormsmmm that can bebebeee read ororororo lllllooooookekekekeked uupuppu ononnnon,,, isisis aaaa uuuubibibibib quququququitititititououououous s sss tototoooolololololl uuuutiiilized througghout the dddeeesee ign realalalalalmmmm. WWWWWitii h h h thththththisisisisis ppprojejejectctcttct,,,, III II sososososougugugugu ht ttttto o o o o cccocoommmmmmmmunuuuu icataa e a sense of movvvvvement ononononon aaaa tttttwowowowowo--didd mensnsnsnsnsioioionanananaalll plplplplplatatatatatfofofofoformrmrmrmrm. I achihihihihievevevevevededede ttthihihiisssss by photographiiinnnngn varioooooususususus aaaaactttsss ss ofoff motionnn aaaaandndndnn cccomomommpippp lililiiingngngngng ttttthe asssssssssororrtetetetetedd d dd imimimages into an 8 xxxxx 16” collage ttttthahahahh t t tttwould dd leleleeeeadadadadada ttttthhhhe viewer’s eyyeyeyeyeeee e throooouguguggh hh eaeaeaaachccc iiimmam ge succccch hh that he orororrr ssssshehehehehe wooooooululululd ddddd experience movement.

PrPP oject Solution: All images were captured at close range to ensure suf-fifi fi cicicienene t blur and obscurity of the subject, theheheheeh rerr by enriching the sensation offf mmmovovovemmememenenent. Images to be used witithin tthththt e ccccollage were selected based on the preseencncccnceee e e ofofofofo hhhigiggh h h cocococ ntntntttrararararaststst aaandndn uuuuunininininin quququuueee ee form that assured dd bababaabalalalalalance througghout the commmmmpoppopopossis tionononon. ThThThThTheee fififififi nanananaal l l l l prprprprprododododo uuuuuct entices the viiewewewewwer’s’s’s’s’s eeeeeyeyyeyeyy to wannnndedd r across each imagagagggee ee withhhininin ttthehehehehe ccccoooloo lage, allowinggggg hhhim tooo oo pepepepeper-r-rrrceive visual movement.

{ {

Prof

esso

r: St

udio

Titl

e:Pr

offese

osor:

StStudu

ioTTi

tle:

P

MATERIALITY * n \m\məə-ˌttirir-ē-ē--ˈaa-ləə-t-tē\

thhe e concncepeptt ofof, , oror aapppplilieded uusese oof,f, vvararioiousus mmatatereriaialsls oor r susubsbstatances in n ththee meediiumum oof builildidingng

PrProjoject DDesccriription: Mattere iaialilityty iis s ththee coconflnfluuenence oof f phphysysicicalal oobjbjecectsts that pproro ividedess a meanns s ofof aaesesththeteticic ccrereatatioionn. SStotonene, fofor r exexamamplplee, iiss a a nanatturaal l mamateteririal wwitith h uuniqiqueue pproropepertrtiiess whw ich, bby y iitseselflf, hahas limited ususe.e HHoweverer,, whwhenen stone is s coc mbinned witithh ototheher r mamateteririalals,s like ce-mmentnt aandn waterr, ththee distinctct strtrucuctuturarall ata tributes oof f ththee ststononee bebecoc me enenhahancnceded. ThThisis pprorojejectct ttooook k ththee phphrase “mateeririalalitity”y” iinn itts s moostst lliti eral foformrm bby y cocombmbini inng g two didiffffererenent t mamatete irialals s toto crereatee aa singglel 116 square--innchch ccubube.e

PrProject Solulutitionon:: InIn cchoh ossining g mymy pprir maaryy mmatatere ial, II sououghght t anan oobjbject that was both trtrananspsparrenentt anand d self-contatainininng g toto pprorovividede ggrereataterer aartistic frreedom with thehe ssececono dary mmatatereriaial.l. II ultimatatelely y chchososee toto use chickenen wiw re as my primamaryry materiaall anand rorockcks s ass mmyy sesecoondndarary y mmateteririalal. ThThe e chhicickeen n wiw re bbececamame e ththe e ennclosure anand d the rorockcks bebecac meme thehe ppatattetern ana d d mam ss, crcreaeatitingng aa sstrucu tut raralllly y sosounund d objejectct ddese pip tete tthhe mmagagninitutudee of fememptty y spspacace wiwitht ini the enclosurere.

Jess

ica

John

son,

NC

Stat

e Un

iver

sity

AR

C102

Intro

duct

ion

to A

rchi

tect

ure

{ {

Prof

esso

r: St

udio

Titl

e:P

ANALYSIS * n \ə-ˈna-lə-səs\

methodical and detailed examination of the constitution or structure of something, especially information, typically for purposes of explanation

Project Description: Without analysis of distinguished architecturalworks of the past, designers of the present would have no program for the future. For this project, two of my student colleagues and I were given the name of an historic piece of architecture. We were then asked to analyze photographs and drawings in plan, section and elevation tolearn the meticulous process of generating architecture. Following theresearch phase, our group was required to make a 1/8” = 1’ scaled sec-tion model depicting the primary theme of the building, as well as toprovide supplementary perspective drawings to elaborate the theme’simportance.

Project Solution: Our group was assigned La Tourette, a residence and chapel for Dominican Friars by Le Corbusier. The process of making the section model proved to be a great challenge, for there were manyimages of La Tourette, but very few plan or section drawings. Due to the building’s unique site conditions, particularly its location on the side of a steep hill, we wanted to ensure that we balanced the small monks’ quarters on one side of the building to the massive chapel onthe other. The inherent difference in scale of public versus private space became the thematic descriptor for both the section model and the inte-rior perspective drawings.

Jess

ica

John

son,

NC

Stat

e Un

iver

sity

ARC

102

Intro

duct

ion

to A

rchi

tect

ure

{ {

Prof

esso

r: St

udio

Titl

e:P

ADAPTATION * n \ˌa-ˌdap-ˈtā-shən, -dəp-\

modifi cation, as if to make fi t for a new use

Project Description: Utilizing the knowledge we gained from our analy-sis of La Tourette, this follow-up project placed my student colleaguesand I at a site in downtown Raleigh, NC. This intriguing site was 40’wide x 120’ deep and was enclosed on both sides by neighboring build-ings. Our assignment was to adapt the layout of the building into a newYWCA for the downtown district. The language, rhythm, theme and overall understanding of our architectural precedent (La Tourette) wasto be applied to this new building.

Project Solution: Using undertones of La Tourette, the spaces in the new YWCA were strategically divided into “small private,” “medium-com-munal,” and “large recreational” vicinities. Furthermore, we designed the building’s entrance to refl ect Le Corbusier’s popular technique of presenting interesting architectural views while forcing further explora-tion of the building. We replicated this technique by designing a long, narrow ramp suspended above a natural courtyard at the entrance of the building that was immediately seen, but not physically accessibleto the guest. After passing through the medium communal space, theguest gains access to the suspended ramp via a narrow corridor. In thiscorridor, the guest has the choice of exploring a large recreational roombeyond the ramp, or a tiny spiral staircase that leads to private spaces above. By creating a division of space within the building, we implorethe guest to engage in a deeper exploration of the underlying architec-ture.

Jess

ica

John

son,

NC

Stat

e Un

iver

sity

ARC

102

Intro

duct

ion

to A

rchi

tect

ure

{ {

Prof

esso

r: St

udio

Titl

e:P

TRANSFORMATION * n \ˌtran(t)s-fər-ˈmā-shən\

a marked change, as in composition or structure, usually for the better

Project Description: Before any transformation can occur, there must fi rst be an understanding of the rudimentary structure and composition of the object which will be altered. In thisproject, I analyzed two objects: a structure designed by nature and a structure designed by man. Once I simplifi ed each object into a basic diagram, I transformed the natural object (apine cone) into the famous building, Kiasma, by Steven Holl.

Project Solution: The process of reducing and categorizing complex information is a tool that designers utilize on a daily basis. With this project, I simplifi ed my natural and man-madeobjects into categorical drawings that expressed each object’s unique qualities of geometry, part-to-whole, and axis. After understanding the generative nature of each structure individu-ally, I compiled the information of both structures together to diagram the transformation of a pine cone into a building.

Laur

a Ba

ttagl

ia, N

C St

ate

Univ

ersi

ty A

RC20

2 Bu

ildin

g Tr

ansf

orm

atio

n

{ {

Prof

esso

r: St

udio

Titl

e:

L O C AT I O N * n \lō-ˈkā-shən\

a site or position

Project Description: Before a building enters the sky, it must be placed on the earth. The goal of this project was to study the site, location and orientation of a proposed piece of architecture in Charleston, SC. Using maps of Charleston dating back to the early 1700s, my student group created a series of diagrams depicting the historical progression of the city with regards to architectural form and density. After gener-ating these diagrams, we designed a unique site model on a specifi ed parcel of land. Initial research by my colleague and I on the history of Charleston’s architecture led to the discovery of intriguing legal prec-edents which are enforced to this day, such as a law prohibiting the construction of an edifi ce taller than the highest steeple in the city. This law played a considerable role in the design of our site model, as our site housed three of the oldest churches in Charleston.

Project Solution: After experiencing our site on foot, my colleague and I concurred on the overwhelming presence of the three churches on our site. This sentiment led us to the creation of a model which portrayed the churches as an omnipresent entity in the pedestrian experience of Charleston. Our model focused on three key components of design: the landform, the man-made, and time. Time is a diffi cult medium to rep-resent in a static model, so we used light, distance and a “ripple effect” to signify a visual “fall-off.” When viewing our site model aerially, thelight was brightest within the walls of the churches. As light extended from each of the churches to their neighboring buildings, its intensity diminished until the presence of another church was felt.

{ {

Prof

esso

r: St

udio

Titl

e:P

Fei W

ong,

NC

Stat

e Un

iver

sity

ARC

201

Site

Pla

nnin

g

Prof

esso

r: St

udio

Titl

e:P

TENSION * n \ˈten(t)-shən\

the condition or degree of being stretched to stiffness

Project Description: In Spring 2009, NC State’s College of Design cel-ebrated its 60th anniversary. A temporary canopy structure was needed to provide shade and shelter for several of the celebration’s events, thus a design competition for the tensile structure ensued. The canopy would need to provide coverage for at least 80 seated guests and fi t within oneof the courtyards surrounding the College of Design. Additional guide-lines required that the canopy be self-supporting in nature and not haveany major connections to existing structures. If the proposed structure was well received by the public, then it would be left up indefi nitely.

Project Solution: I, along with two of my student colleagues, designed a self-supporting canopy structure which drew inspiration from the Den-ver International Airport, designed by an NC State College of Designalumnus. Steel was used as the structural backbone, while white ten-sile fabric comprised the majority of the canopy. Following review by alumni of the College of Design, our project was selected as a fi nalist,but due to limited funding was unable to be constructed for the event.

Way

ne P

lace

, NC

Stat

e Un

iver

sity

ARC

302

Build

ing

Stru

ctur

es

{ {

Prof

esso

r: St

udio

Titl

e:P

TECTONICS *\tek-ˈtä-niks\

of or pertaining to building or construction

Project Description: Every year in the Fundamentals of Structurescourse in the NC State School of Architecture students collaborate tocreate a steel-reinforced, concrete beam to be tested under a static point load. Each group is provided with a 10 foot piece of 3/4” rebar and abag of concrete, and is allowed two weeks for fabrication. The beam must be 8 feet wide and have no more than 5 inches of supportive sur-face on either end.

Project Solution: Considering the structural allowances of the beam, our group used the concept of a pre-tensioned beam similar to that used in the construction of bridges to create an active, bow and arrow-like beam. An aluminum encased piston was cast at the center of the beam which, when compressed, caused the concrete beam to camber. Once the piston had fully receded into the beam, the pre-tensioned concretecould support over 4,000 lbs of force. Our beam set a new record for force load that has yet to be surpassed.

Way

ne P

lace

, NC

Stat

e Un

iver

sity

ARC

232

Build

ing

Syst

ems

adj{ {

Prof

esso

r: St

udio

Titl

e:P

VERNACULAR *\və(r)-ˈna-kyə-lər\

of, relating to, or characteristic of a period, place, or group;especially :of, relating to, or being the common building style of a period or place

Project Description: As an exchange student at Texas A&M University,I had the privilege of studying under Pliny Fisk in a semester-long stu-dio. Pliny is a highly respected designer in the world of regional and sustainable design. The goal of this studio was to design place-sensitivestructures which adhered to the materiality and engineering principlesused within its region, formally known as vernacular design.

Project Solution: We educated ourselves on abundant and scarce re-sources specifi c to our Texas region, and then designed a structurethat would maximize the effi cient use of both of these resources. Wedetermined that in the arid regions of Texas there was an abundance of low-growing ashe trees, but a limited supply of water. We sought to utilize the abundant products to create a system that would harness the scarce resources. Therefore, we used “concrete” blocks which used ashe instead of stone as the aggregate material to construct our system.These pseudo-concrete blocks allowed for rapid construction using lo-cal, organic materials. We then manipulated our designed structure to have a curved roof which allowed for water collection and distribution to the surrounding community.

Plin

y Fi

sk, T

exas

A&M

Uni

vers

ity A

RC40

1 Ar

chite

ctur

al V

erna

cula

r

adj{ {

Prof

esso

r: St

udio

Titl

e:P

Basement First Floor Second Floor Third Floor Fourth Floor Meditation

ORIENTATION * n \ˌȯ r-ē-ən-ˈtā-shən, -ˌen-\

a usually general or lasting direction of thought, inclination, or interest

Project Description: Much of “the sacred” in today’s world focuses onreconnecting with nature and approaching a sense of individual iden-tity. The ACSA Steel Design Competition challenged architecture stu-dents to design a public, urban center dedicated to reconnecting peoplewith themselves, others, and nature. This new institution intends to stop the perpetual cycles of production and consumption that dictate our lives by orienting our attention to the beauty of simply “being.” In order to create a space infused with the “Re-Ligare” mantra of mindfulnessand introspection, this institute would need to be a mental and spiritual retreat that facilitates mind-body connection.

Project Solution: Fundamentally, the institute is divided into active, social, and private spaces that are oriented around a double wall that mediates between the secular and sacred realms. Understanding thetransition one makes through the objective, intersubjective, and subjec-tive states of mind, we developed a system of hierarchy that parallels the transition of public to secluded spaces. By participating in this tran-sition of space, one can orient himself within the environment as wellas to his sense of being. At the pedestrian level, the double wall of theinstitute serves as a threshold marking entry into the sacred interior where social gardens are present. These social spaces act as intermedi-ary zones for specifi c activities (yoga, meditation, cycling, etc). and allow for spiritual reconnection within the intersubjective.

Tom

Bar

rie,

NC S

tate

Uni

vers

ity A

RC40

2 Sp

iritu

al D

esig

n

{ {

Firm: 3north ArchitectsProject: Grove Park InnDescription: Design and render a 3D model depicting a custom lighting fi xture.

FF

Prof

esso

r: St

udio

Titl

e: prof

essi

onal

VISUALIZATION * n \\\\ˌvvˌvvi-ii-i-zhzhzhzhə-ə-wwə-llə-ˈzzā-ā-ā-sshshs əənnə \\\

thhe prp ocess ofof fforormimimingngng aaaa mmeeentaal l picturree e or makkkinning vivisisiblbbleee

Viisususuualalalizizizatatioion n iiss aa pppprorororocessssss tttthhhat t I haave grownwn ttoo oo lloloovev andd aappppprereeciate ddud r-rining mymy ttimmme ee ee ininininnininin tttttthhhehehehe pprrrrooofesssioonal woorlrld d offof dddesigigign.n.n. FFFor me,, the pprocecessss oof f fcrcrcreaeaeaeaeatittitititittinnnnggngngng aarcrchih teecturureee iiisis mmosost gratifyiiingngn onccee a a a twtwo-o dimeeennsnsiioionananall drdrdrrdrawawawaw--iiing esescacapep s ittss consnsttrtraiaineeed,,d, fl at plane and stepeppps s ininnntototo aaaaa cccomommplplplexexex,, ththhthrereree-e-dimensional world.d WWitthhhh ththeee adadveveventntntnttt oooooofff f cococommpmpmpututtuterere -aidddededed ddddesese igigign n ananand dd 3-3-3 D Dmodeling, the visualizzatatatioioioion n n n prprprprococccesesesessss s ccacacan n n n bbebebeb aaaattttttttaiiaiaineneened d ininin a fffewew ssshoortr ddays s rather than in monthhs ororor yyyeaearss.. ThThThe ee fofoffolllllowowininng gg prproojojeceects wwweerere ee dedeesisigngg ed, modeled and rendereede bbbbyy yy mymyyyssesesellflfl iiinn n cooolllllllababbaborororatatatatioioioionnn wiwiwiww thhh 3333 NNNorrorththth AAArcrcchi-tects in Richmond, VVVA anannaannd ddd ErEricicici k kk VaVaVaVaVVV nn nn n EgEgEggererre aaaaaatt AsAsAsA sososociciciatatateded AAAAArchihitecttss inn Budapest, Hungary.

{ {

Firm: 3north ArchitectsProject: Royall and Company Description: Design and render a 3D model showcasing the entry and grande stair.Right: Entry Canopy

F

Prof

esso

r: St

udio

Titl

e:P

Prof

esso

r: St

udio

Titl

e:

Firm: 3north ArchitectsProject: Steward SchoolDescription: Create and render a 3D model exploring interior views of the design proposal.Left: Exterior rendering from the street.

FFFFF

Prof

esso

r: W

eilin

g H

ePr

ogra

m:

1.

Tak

e 50

com

pose

d ph

otog

raph

s

port

rayi

ng p

oint

line

and

pla

ne.

2.

Cro

p an

d co

mpi

le p

hoto

grap

hs t

o

crea

te f

orm

.

Firm: 3north ArchitectsProject: Redskins Training Facility Description: Replicate existing siteconditions and begin concept modelfor building design.

Firm: 3north ArchitectsProject: Redskins Training FacilityDescription: Replicate site conditions in 3D and render a conceptual building proposal.

FFFF

Prof

esso

r: St

udio

Titl

e:P

Firm: Erick Van Egeraat Project: Chess and Billiard Hall, Khanty, Russia Description: Design a 3D model of an exterior benchRight: Exterior rendering post processed in Photoshop.

F

Prof

esso

r: St

udio

Titl

e:P

Prof

esso

r: St

udio

Titl

e:

Firm: Erick Van Egeraat Project: Fashion Theatre, Khanty, RussiaDescription: Interior rendering post processed in Photoshop.Left: Exterior rendering post processed in Photoshop.

FFFFFFFFF

Prof

esso

r: St

udio

Titl

e:

Firm: Erick Van Egeraat Project: Budapest City Hall, Budapest HungaryDescription: Exterior rendering post processedin Photoshop.

FF

jo-hnphh

fff