Tyler P. Convery [631-807-6794, Ty.Convery@gmail.com]

Education 1. Rensselaer Polytechnic Institute : August 2009 – May 2014 [Architecture Major, Psychology Minor]

2. Dowling College : September 2009 [Developmental Writing, Creative Writing, Essay Writing]

3. New York University : Summer 2007 [Criminology and Sociology, Writing and Literary Analysis]

4. Longwood High School : 2006 – 2009 [Advanced Regents Diploma with Honors]

Experience 1. Study Abroad Program [Ahmedabad, Gujarat, India] : Spring 2013 [Various Travels in Northern and Southern India, Studies at CEPT University]

2. Experimental Media and Performing Arts Center [EMPAC] – Summer 2012-Present [Performing Artist Assistant: Green Room Management, Driver / Courier]

3. School of Architecture Fabrication Shop : Winter 2011-Present [Teaching Assistant: CNC Milling, Laser Cutting, 3D Printing, Tablesaw, Safety Management]

4. Th e Brown Bag : Fall 2012 [Cook / Cashier / Kitchen Prep]

5. CASE Window & Door : Winter 2012-Summer 2012 [Computer Modeler / Rendering Team]

6. Center for Architecture Science and Ecology [CASE Program] : Fall 2011 [Intern / Researcher]

7. Burger Shack : Spring 2011-Winter 2012

[Head Cook: Kitchen Management, Inventory]

8. New York State Parks Department : Summer 2010 [Grounds Keeper / Custodian / Cashier]

9. Th e Pixel Print Network : 2006-2009 [Shipping Manager / Bindery Worker]

Software 1. Rhinoceros 5.0 for 3D Modeling and Drawing [VRay for Rendering, Grasshopper, Kangaroo, Weaverbird]

2. Autodesk 2012 for 3D Modeling and Drawing [AutoCAD, Maya, Revit, Vasari, Ecotect]

3. Adobe CS6 for Graphics, Layouts, and Drawing [InDesign, Photoshop, Illustrator, Acrobat, Fireworks]

4. Bentley Suite for 3D Modeling and Drawing [Bentley Microstation, Bentley Architecture]

5. Microsoft Offi ce / iWork [Excel, PowerPoint, Word, Numbers, Keynote, Notes]

Honors 1. AIAS Coff ee Cart Design Competition: Spring 2012 [ Jury Selected Design for Commercial Usage]

2. RPI SoA Digital Futures Book Fall 2012 [Professor Recommended Semester Submission]

3. Th e Gallery at Albany International Airport: Winter 2009 [ Jury Selected Full Scale Installation]

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LADIES AND GENTLEMEN,STEP RIGHT UP! GATHER ROUND!SEE THE WORK OF TYLER CONVERY.The kid’s got great stuff and he can’t wait for you to see it. He’s documented all the material that’s ready for the exhibition. You’re in for a real treat!

OPENING ACTSFEATURED PRESENTATIONSUPPORTING ROLESGRAND FINALE

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The show is being presented in the following segments:

2These Opening Acts really show the diversity this guy is packing, and it’s only the beginning!TRITOWERS Fall 2011

3 - A mixed use high rise located on the current Petronas Twin Tower site in Kuala Lumpur, Malaysia. Developed with the environment in mind, the twists and louvers of the tower respond to the sun and the biannual winds of Kuala Lumpur’s monsoon season.

4 – Th e rotation of the towers results in natural isolation that ensures privacy for users. Circulation and program are dictated by the connection of the three towers and their twisting cores.

COFFEE CART Spring 2012

5 - Th e Coff ee Cart was commissioned by AIAS to provide coff ee to the guests and members of the school of architecture during the Smart Geometry conference held at EMPAC in March of 2012. Having won the competition with a preliminary design, the design and fabrication was completed within three weeks. Th e cart is made of Baltic birch plywood which fi ts together in puzzle box fashion with the central axle dividing the interior storage. When not in use the cart is a rectilinear storage container, but when deployed it becomes a full service station creating its own atmosphere wherever it goes. It is expected to be in use for the next four years.

MASS CREMATION

Fall 2012

6 - A seven chamber crematorium located on the Salton Sea in California. Th e challenge was to create a facility capable of handling multiple services while creating intimate moments for the masses.

7 – Th e crematorium operates in a series of chambers which force users to operate along curves, obstructing visual connectivity. Th e procession becomes desolate and operates as a labyrinth optimized for refl ection of lost loved ones.

8 –To inform the design, a dissection of Borromini and Bernini’s Palazzo Barberrini examined the spatial sequencing of interior envelopes. Proportions of public space to architectural event was also considered.

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Level 45

Level 62

Level 74

Stacked & Twisted Program

5Closed Confi guration Open Confi guration

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Master Plan

Longitudinal Section

Spatial Sequencing of Plan

Proportions of Labyrinth in Elevation

Symmetry through Repitition in Elevation

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Dissection of Palazzo Barberrini into Programmatic Components

Analysis of Interior Poche to Inhabitable spaces Architectural Event Vs Public Space

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The Featured Presentation is gonna knock your socks off! This main act shows how far our man can take a project. Hang on to your hat!80 SOUTH STREETSpring 2012

10 - Designed as an iteration of Santiago Calatrava’s proposition for ten townhouses at Manhattan’s South Street Seaport, 80 South Street aimed to create a vertical neighborhood in New York. Townhouses were combined with an endless list of amenities that created an environment so diverse it generated its own culture. Smaller districts in the 1,300 foot tower were defi ned by connecting super lobbies that had green spaces in them.

11 – Town houses and amenities were treated as boxes that stacked, shifted, and scaled as the tower grew. Amenities were enclosed with a cable net skin that spanned several fl oors at times, spatially connecting a variety of activities. Apartments ranged from one to three fl oors high and off ered terraces and double high spaces. Th e core was split into two access routes, amenity and apartment.

12 – Th e site aimed to act as an extension of SHoP architect’s existing pier by bringing water and green spaces into the site. Food carts (previously in disarray under the FDR Drive) were given a structured, tree-lined space on the northern edge of the site. Th e skin enclosing the amenities touched down into an operable, semi-enclosed park area which housed a cafe and the resident entrance.

13 – Th e connective membrane encompassed the amenities as it wrapped three quarters of the way around the tower. Th is twist allowed for a progression of views which are accented by viewports which frame the Manhattan skyline. Th e main shift in townhouse neighborhoods dictated the size of individual apartments and the lifestyles associated with them.

14 – Th e model was developed as a test to see how the cable net would twist and shift in comparison to the physics based model generated by the computer (Grasshopper & Kangaroo). Th e interior view of the basketball court demonstrates the continuity and fl uidity of the skin.

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Circulation Patterns

Air Space Treatment

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Level 22

Level 23

Level 24

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The Supporting Roles show our star when he was just starting out. His early work is a tribute to his natural talent!SOPHOMORE STUDIOS Fall 2010 - Spring 2011

16 – An investigation in Mies Van der Rohe’s Krefeld Villas was informative of the importance of the progression and sequencing of spaces. Here three walk-throughs are charted with the trim of the rooms being shown as the spatial generator (note the constriction of the servant quarters). Th e drawing and diagramming of a Shaker Coff ee Roaster was informative of cyclical motion and the proportionate energy to velocity. Here the roaster is seen accelerating while being heated.

17 – A Troy based social housing project that was developed as a complex of maizonettes intended to equally distribute communal spaces. Th e sequencing of spaces used the Mies diagram as a generator. to balance the feeling of comfort with the eff ect of the community.

18 – Th e energy and motion being analyzed in the coff ee roaster was communicated through the form of this Shaker Artifact museum. Th e exoskeleton allowed for plastic spaces to be developed on the inside, and a contextualization to the landscape on the exterior.

19 – While not as critical or developed as more recent projects, this sequence of models and images shows is a tribute to the primitive spatial and formal work done in my fi rst two years of school.

CASE W&DSpring 2012

20 – Th is window detail is one of many produced for the CASE Window & Door company. As part of their rendering and modeling team I worked through details of windows and their components to produce photo realistic images for their prospective clients.

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Walking from Dining Room To Living Room

Walking from Den to Living Room

Walking from Servant’s Quarter to Kitchen

Acceleration of Coff ee Roaster as Heat is Applied

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Level 1

Level 2

Level 3

Level 4

Site Plan

South Elevation

West Elevation

Cut Away Suection

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Ground Level Level 1

Site PlanTransverse Section Facing North

Longitudinal Section

Transverse Section Facing South

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Tilt-Turn Window Clad With Aluminum & Oak

Window Demonstrating Turn Window Demonstrating Tilt

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For the Grand Finale we have a true test of character. Would you believe it? Our Friend even cares about humanity! Here’s the final word from the man at hand. Th e work which I have shown has been my most presentable and polished work. I have spent countless days and nights producing the drawings, renders, and diagrams. However, the following series of portraits is more important to me those projects will ever be. Th ey represent a demographic of the everyday pedestrian in the downtown Troy area (located adjacent to RPI). While crime is not high, many students voice fears of going downtown because it was “seedy” or “sketchy”. Some even say that there is “too many black people” for them to go there. Th ere is prejudice in the majority of citizens in American society and many of them are unaware of their bigotry. Th e diff erence between the projected fears of the average citizen and actual interactions with the general population causes an apathetic society and communal disconnect. Th e mentality results in the architectural conditions which cause Koolhaas’ New York to be delirious. My bleeding heart wants to fi x, change, and morally correct the prejudices of humanity on a global scale. To alter the condition at RPI, I posted the portraits on campus to force students to come into visual contact with the undesired population. Discomfort felt by students when encountering the installation was a reminder of their own imperfections. I viewed the work as an advertisement for the masses that humanized the monstrous images citizens have constructed in their minds.

Changing the negative aspects of a global mentality is no small feat and can be approached in a variety of methods. In the fall of 2011 I became highly interested in the homeless population of New York and began work on a documentary. Th e goal was to understand all aspects of being homeless and to discuss the issue with the residents, tourists, commuters, pan handlers, and homeless persons which make up the city’s population. How does one become homeless, what constitutes homelessness, and why their families fail to take care of them were some of the issues being raised. Th is line of questioning often discusses where the blame for the homeless condition lies. Th e answer is that the blame lies with all members of society. Th erefore it will take all of us to change it.

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