Ma r bl e Fa i r ba nks
PLY A r chi tectur e
La s Vega s: A r chi te ctur e a s Inter fa ce
A RC H 427: C onstr ucti on II
Wi nl i ng PhD Thesi s
Housing: U r ba n Rege ner a ti on
Herbarium: Shi f ti ng E xpe r i e nces
Galler y: Ma ter i a l E xper i ence
Galler y: Material Ex p erience +Ins t ruc t or: Jul i e L a rs e n +S t ud i o 1 , UofM Ta ub ma n Col l e g e +P rog ra m: Comi c b ook g a l l e r y +S i t e : Ann Arb or. MI
s ite
program
The site is a small alley in Ann Arbor off of Liberty Street, the main passage between student-dominated State Street and downtown’s Main Street. Liberty hangs in a strange balance between the two worlds, a stretch of second-hand record stores, specialty video shops and ethnic food joints bridging Big Ten psychosis and posh hippie boutiques.
The program of the urban infill is a comic-book gallery with workspace for an artist-in-residence - a workshop / display space intended to raise critical awareness and retrospection of this rapidly expanding pop-art form.
Liberty St.
State St.
Main St.
enlarged site plan
gra p h i c a rtis t s , l e f t t o r i ght : A shley Wood, Stan Lee, Marjane Satrapi, David Mazzucchelli, Ashley Wood
working section through gallery
re sea rc h :
f r a m e a n a ly s i s
P r o v i d e d mat e r i a l : Rumiko Takahashi, The Mermaid Diaries; pr e s ent e d t o st u d e n ts with captions erased
syst e m I
system II
juxtapositio n
interaction
Fr ame pr o g r e s s io n s tu di es of a J apanes e m anga, o r graphic n o v e l , l e d t o a f o r m a l s t r a t e g y f o r t h e g a l l e r y. Two sy s te ms a r e d e fin e d and j ux t apos ed, t hei r i nt er ac t i on a m ethod o f d e a lin g with t he s i t e’ s aw k w ar d geom et r y .
p ro ces s:
4 m o d els , f r o m co n ce p t u al t h ro u g h f i n al
The gallery inhabits a void created by surrounding context. Bold slabs define the exterior walls and main e ntrance while a forest of slim structural columns inhabits the middle. Their interaction fractures the center of the building, the resultant spatial and atmopsheric quality a w elcoming change from the surrounding storefronts.
f irst fl o o r p l a n
second floor plan
All building e l e m e n t s r e s p o n d t o t h e i n t e r a c t i o n b e t w e e n the two systems , i n c l u d i n g s t r u c t u r e , c i r c u l a t i o n a n d p r o g r am. Gallery spac e k e e p s t o w a r d s t h e f r o n t a n d r e a r , w h e r e n a t ural light and floo r s l a b s a r e m o r e c o n t r o l l e d . C i r c u l a t i o n a n d s ocial s p a c es group to wa r d s th e c ent er , w her e s t r uc t ur al c ol um n s brea k throug h t h e f l o o r a n d c e i l i n g s l a b s . T h i s f r a c t u r e d s p ace fo rm s the hea r t o f th e b u ild i ng, l i k e a c l ear i ng i n t he w oods.
third floor plan
no rth -s o u th l ongi t udi n a l s ect i on
rear e n tra n c e , l ooki n g t o wa r ds f r a c ture
mai n st r eet entrance, looking towards fracture
Housing: Urb an Regeneratio n +Ins t ruc t or: S op h i a P s a rra +S t ud i o 3 , UofM Ta ub ma n Col l e g e +P rog ra m: Hous i ng +S i t e : Tol e d o, OH
s ub urban t o u r b a n :
p arad i g m sh i f t
Urb an l ife c a n n o t a ffo r d to be s el f i s h – t he c onstant flux of h u m a n m o v e m e n t a n d n e e d s w i t h i n a d e fi ni te ge o g r a p h ic a r e a cr eat es ov er l ap. Su b urban life , h o we v e r , c a n af f or d t o be s el f ish. What w a s a t f i r s t a d e s i r e f o r l a n d o f o n e ’ s o wn has grown in to a n o b s es s i v e need f or i ndi vid u al s pac e , a n u n s u s ta in a bl e s oc i al and phy s i cal trend. E n v i r o n m e n t a l a n d e c o n o m i c s h i f t s d e m and a par a d ig m s h ift. T he l i f es t y l e c hanges n e e d not be d r a s tic , b u t s h o ul d r ei nt r oduc e new generations t o t h e c i t y a n d t o t h e q u e s t i o n o f w h a t it mean s to b e a me mb er of s oc i et y . Th e res earc h u n d e r ta k e n in t he f i r s t hal f of t hi s studio inves t i g a t e d t h e s e m e n t a l a n d p h y s i c a l in te r s ections in my o wn lif e, t he ar c hi t ec t ur al so lu ti ons to u r b a n liv in g o ff er ed by t he A A s t u d e n t c ol lectiv e +RA MT V in thei r t hes i s N egot i at e M y B oundary!, a n d a s e r i e s o f s t u d i e s c o m b i n i n g th e tw o group s o f in fo r ma tion.
college apartment: utilized space analysis
Flexibil i ty s tu d y model e d on c oncept diagrams from +RAMTV’s Negotiate My Boundary! Joint p rojec t w ith S o o hyun P a r k a n d Lauren Hepner. Personal responsibility included these diagrams.
6:30 am the day begins.
7:30am everyone has breakfast. kai still sleeping.
8:00am off to work. peter’s kids eat breakfast. kai still sleeping.
All s o c ia l a n d i n d i vi d u a l a c t i vi t y centered on t h e t e l e v i s i o n . T h e a p a r t m e nt building wa s f u l l o f co l l e g e s t u d e n t s , n o ne of whom eve r k n e w e a c h o t h e r f o r l a c k o f appealing com m u n a l s paces.
5:00pm kai hangs out with the kids. greg helps roger + julie with competition
6:30pm roger + julie host dinner party. greg, kai, peter + kids join in.
12:30am kai, greg + friends continue partying. peter crams for meeting.
s ite The second half of the semester applied collected research to a residential project in Toledo’s old industrial district. I immediately considered the project as a regenerative catalyst for the neglected yet historically rich urban area. Potential for renewal required a positive community visible to the public without becoming desensitized to the needs of residents.
se ction A t h r o u g h p r o p o s e d c om m uni t y
A
Toledo’s housing market is shrinking: a high-rise, high-density apartment building is nonessential. This site has the gr eater potential of becoming the focal point of urban and community renewal for this depressed Midwestern town.
s tu d i es:
c o n n ec t iv it y : l an d scap e + ci rcu l at i o n
c ro s s - s t i t c h we a v e, uni t s a nd circulation
l inear w e a v e , c i r c ul a t i o n
+ RA M T V
linear weave, roofscape
su rro u n d in g c o n t e xt
u rb an reg e n e r a t io n Rather than suffocate the site with a single footprint the townhouses are split and pulled apart (I). The resulting space is programmed for both residential and neighborhood use. The site massing also considers an adjacent apartment building (5). Landscaping encourages community engagement on the ground level and creates neighborhood access to the riverside, currently inaccessible. Public use is restricted to site level while residential circulation occurs at all levels. A renovated brick warehouse southwest of the site provides vehicle parking (1). Residents can exit onto the courtyard or take an elevator to a walkway on the second story. Pathways and green surfaces wrap around the unit clusters (II), creating an network of landscape leading to the roofscape.
public private
I. urba n m a s s ing
II. circulation
III. roofs c a p e : v i e w s o u t w a r d s
1. r e n o v a t e d w a r e h o u s e : bicycle + car parking 2. a f te r-s c h o o l p r ogr a ms 3. g re e n c o ur t yar d : g a rd e n , s oci a l e v ent s 4. riv e r p a th 5. e x i s t i n g a par t ment bui l di n g 6. ty p ic a l f a m i l y t ownhouse 7. ty p ic a l s i ngl e - per s on u n i t 8. e le v a t e d w a l kways
bluestem grass B
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permeable pavers
communal gardens
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lan d s c a p e p l a n
section B, roofsca p e : a n e l e v a t e d p a r k f o r r e s i d e n t s w h e r e t h e y c a n r e l a x a n d l o o k o u t u p o n t h e ci t y a n d i t s r i v e r s .
The hope is that the sense of positive connectivity will spread to neighboring apartment buildings, eventually reaching the depressed city itself.
L as Vegas: Arch itecture as Inter face +Ins t ruc t or: E ri c Ol s e n +Stud i o 4 ( Wa l l e nb e rg ) , UofM Ta ub ma n Col l e g e +P rog ra m: Mus e um/Pe d e s t ri a n Wa l kw a y +S i t e : L a s Ve g a s , N V
Project Thesis: 2007 Wallenberg Studio theme: “Architecture and Deception� In a world becoming increasingly dominated by the global culture of market economies, Las Vegas continues to be a paradigm of consumerism reflected in the physical realm. The systems which feed into the city rely upon the ability of the consumer to understand information through series of recognizable symbols and to relate signifier to signified. Scott Brown and Venturi recognized this phenomenon 30 years ago in Learning From Las Vegas, and although the form of the signs on the Strip may be morphing as a result of emergent technologies their twofold relationship to pedestrian and vehicular traffic remains the same. The complexity of networks weaving across various aspects of everyday life necessitates the creation of universally understood symbols, and without such identifiers the amount of information we encounter would be impossible to digest. The sign is fascinating because it belongs in both these worlds: it is a three dimensional object in space that is flattened into the status of a non-object by the information it carries. As soon as people understand the symbol, the armature disappears. The deception lies not in the cultural associations tied to symbols, but that these symbols, themselves intangible constructs, have the power to dissolve and flatten the physical world. What happens then when the sign becomes a physical encounter? When something that was always interpreted at a distance becomes the immediate boundary of an interactive space? Architecture can create such an interface, allowing people to explore the seemingly ubiquitous in a new way and draw new conclusions about the world they participate in. Retired signs from the Strip are condensed above the busiest intersection in Las Vegas, bound up in a system of pathways which suspends the re-imagined pedestrian experience over the moving traffic below. During the day the structure towers above the road in the intense desert sun, while after twilight it partakes in the Las Vegas spectacle by reviving the ancient signs, allowing them to once again claim an agency to the Strip.
the bo n e y a r d :
in a c u l t u re o f h yp e r- co n su m e ri sm , a r es t ing pla c e f or out da t ed s y m bols
ya rd s to bo ne tir ed si gn cu rr en t: re
“W h at happ en s t h en wh en t h e si g n be c omes a p h y s ic a l en c o u n t e r? When some t h i n g t h a t w a s a l w a y s interpreted a t a d i s t a n c e b e c o m e s the imme diat e b o u n d a r y o f an i n t e r a c tive space? ”
s igns : c ur r ent r oute
s ign s : p r o p o s e d r o u t e
Si g n s fr o m th e Str i p a r e r e ti r e d to a d u sty l o t o n th e e d g e o f to w n , su r r o u n d e d b y su b u r b a n l o ts a n d j u n k ya r d s. H e r e , i n th e “ Bo n e ya r d ” , th e i r m a ssi ve ca r ca sse s si t e xp o se d to th e d e se r t e l e m e n ts. Fe w p e o p l e a r e aware of their existence; the majority of Las Ve g a s to u r i sts ce r ta i n l y d o n o t vi si t.
M o ve the Boneyard above the busiest inter section on the Strip. The result is twofold: relics of Las Vegas’ past hold the static ce n ter stage in a city whose survival de pends on reinvention, and pedestrians are confr onted with the physical incarnation of a d ve rtisement.
the “Boneyard� p ro p o s
e d : re ti re d s ig n s to in te rs e c
ti o n
inte rsec t i o n What if the bridging solution completely dominates the intersection? N o m or e s link ing a r ound e dge s.
left : current pedestrian bridges
pro p o s a l:
Reclaiming the intersection for the pedestrian
car truck semi truck limousine car car car minvan car suv suv limousine taxi truck car car truck car car taxi taxi minivan suv suv car suv car taxi taxi car car taxi truck semi taxi taxi car car
sec tio n a l e l e v at i on t hr o u g h el e v ator cores and pedestrian ramps
external ramps
internal ramps
ar rc ca ck ck tru i tru xi tax ar ta taxi v rc ca ine car v su ck us car su r o i tru lim ruck an v ca v ax iv su ini rt et v min v m sin su ca ou uv car taxi n sui taxi i a x lim r s ck uv ca tru r tax iniv r ta m v s an xi su inv ta ar cataxi ar ca ar m sine k c xi k c n c ar u va ar c limo truc ar tar truc r c a min r c uv ar e ca uv s ar ca car car c rc ca ousincar s ck c truckruck t ar u e c k lim van xi tr r car taxi sin truc r min ta ca ine ou lim i ca usineruck mous ck sem r o i t li tru ck r ca lim tax suv mi tru ca uv e uv se ar ine v s sin r s c s su ou ca ou ar lim n lim n c v va va su min min suv r car r ca ar ca c
e l evat o r s
uv n s s uv iva ar va mincar cmini u i x s i ta r ck taxuv ca v tru suv ruck u t car v s r s an xi ar sur ca miniv ar ta c c ck n a k tru iva c ruc car car min car uv t xi cari taxiv car car s ar ta k c c tru tax su car uv axi ar uv r r s e t ar c an s ar ca r ca usinck c iniv uv c v ca o lim r tru xi m v s v su suv r ca xi ta n su su suv ca ta iva an ar ruck r cari min miniv c a van xi t k c i tax uck min e ta truc tax v tr car sin ar ar su ar imoucar c car c r car c ar l ck ck r ca u u ec sin uv i tr r tr ca ou v s tax ca r lim ar susine car v ca k n c ou uck su c u tr va im tr uv muse u m / d i s p lkasyemr i msinuv tal xi ivan s all traffic in c a tru car c r suv sine xi m r a c ar n ca mou xi ta i
F l a m i ngo A v enue
Las Ve gas Boule vard
plan of inte rse ction
mat eri al p a le t t e : signs
Brandon Sprouse
S y m b ol i s m
Transience
Perspective
S ensat i on
Mat er i al i t y
Mechani cs
S t ruct ure
S cal e
Ori ent at i on
inte ri or s t r a t e g i e s : studies
e levat o r s h a f ts : l i v i n g adver t i s ements, sym bol a s e n c losur e
P ar all a x : A p p a r ent di s pl a c ement or reorientation of objects in space when viewed at an angle. Cuts in facade skew pedestrians’ preconception of scale so t h a t f i n a l c o n t a c t w i t h m a s s i v e s i g n s i s e v e n m o r e s u r p r i s i n g .
Ph o to m o n t a g e: i n f r a s t r uct u r e s uspending pedestrians over traffic; vehic ular experience at night driving under neon forest
Herbarium: Sh if ting Ex p eriences +Ins t ruc t or: Jon Di s b row +S t ud i o 2 , UofM Ta ub ma n Col l e g e +P rog ra m: He rb a ri um +S i t e : Ga l l up Pa rk, Ann Arb or, MI
p ro g ra m
pr opos ed s ite
A new herbarium is needed for the University of Michigan’s growing collection of preserved botanical specimens. The collection currently inhabits an uninspiring warehouse in an offcampus commercial park. This location speaks nothing of nature of the herbarium, nor the interests of the men and women working inside. It certainly is not an inspiration for visiting students and researchers.
The proposed site is a wooded hill overlooking the Huron river in Ann Arbor’s Gallup Park. It is a beautiful slope of land: small tangles of berry trees and switchgrass blanket the southern exposure. Knotted pine trees cling to the top, while the northern base is clothed in a wood of deciduous trees.
Huron River
W
E
S
N Hu ro n R i v e r Ann A rb o r
L a k e O n t ar i o De t r o i t
sections: site textures
herbari u m : b u i l d ing l andscape Proposed architecture responds to the texture of the site. Cues are taken from materials, the play of light, topography, wind, and seasonal precipitation. The herbarium is a container of landscaped interiors, itself a massive entry point to the site unfurling behind.
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land scap e s t r a t e g y
site st ra te g y : s k et c h
d etail: o u t d o o r p avi l i o n
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1 . f ie ld cl assroom l ooki ng south
2. l ook i ng north al ong path from herbarium
The massive collection is split: the two monoliths sit at the foot of the hill, sentries guarding entry their dead specimens and the woods beyond. A path skirts the edge of the herbarium and carves into the hillside, pausing at the top before plunging into earth once again. It follows the natural contours of the site, disturbing as little wildlife as possible. The researcher inside the herbarium works in the filtered light of the cavernous collection area while the visitor explores auxiliary buildings under the soft shadow of tall trees.
inte rn al s t r a t e g y
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f i r st f l oor pl a n
second floor plan
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north -s o u th sect i on
1. 2. 3. 4. 5. 6.
p a rk in g e n t ry p a t h m a in e n try re c e p tio n / l obby re s tro o m s c l a s s ro o m/ a u d i t o r i u m
7. collection entry 8 . dark room 9. laboratory 10. collection 11. open office
12. 13. 14. 15. 16.
private office faculty lounge library greenhouse outdoor pavilio n
A system of internal paths carry researchers through key points of the program, each differentiated by shifts in material, scale, and the filtering of natural light. The final destination is the cavernous collection, an expanse punctuated by rows of columns filtering slips of light from slits in the roof. Similar to the experience of the landscape beyond, social areas are exposed to views and light, while spaces demanding co n ce n tr a ti o n are environmentally contained.
LICHENS ALGAE BRYOPHYTES FUNGI VASCULAR PLANTS a bove : h e rb a ri um c ol l ect i on, speci m en breakdown below : n o rth -s out h l o n g i t u d i nal section
57,000 96,000 163,000 280,000 1,100,000
model: ground floor, second floor
Ri g h t: In s ide c ol l ect i on s pace Le ft : R u n n i ng p a s t t h e Her b a r i u m on a brisk autumn day
8.2007-2.2008 A nn A r bor , M I PL Y i s : K a r l D a ubm a nn, C r a ig B or um
<<Park House Ann Arbor, MI
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PLY Architecture
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PLY Architecture is a small researchbased firm in Ann Arbor, founded by Michigan Architecture professors Karl Daubmann and Craig Borum. Their work is primarily driven by the exploration and implementation of digital fabrication methods, and most custom pieces are built by employees. I had the opportunity to work on several projects including the 2 3 4 7 8 fabrication 1of multiple millwork pieces, on-site construction, installation, and 5 6 design 9 10 surveying, 1and 1preliminary and presentation drawings within the office. 11 12 2 3experience 4 7 8 The I gained at PLY was incredibly instructive. Not only did I have 13 1 5 6 9 10 14 a chance to witness a projectâ&#x20AC;&#x2122;s evolution 12 11 2 3 4 7 8 from design to installation, but I gained a1 working knowledge of construction that 13 5 6 9 10 14 has come to influence how I understand architecture. I am now adept with nearly all shop equipment and power tools including the table saw, chop saw, jig saw, rotating arm saw, hand router, drill press, and belt sander. More importantly I have come to appreciate technologydriven design that is simultaneously explorative and human.
<<Panel Study
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Abstract routing patterns based on work by Bridget Riley. Produced for intra-office charrette.
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<<BTB4 Cantina Ann Arbor, MI Role: on-site construction, off-site fabrication, mockup studies, millwork + millwork cut-sheets
CATIA model: Karl Daubmann
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T h e s e s y s te m s i nc l uded: -structure (primary, secondary, te r tia r y ) Moment connection: girder to column - o c c u p a n c y + egr es s - e le c tr ic a l - p lu mb in g - p a s s iv e h4e at i ng + c ool i ng - e n c lo s u r e
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W12 steel girder W10 steel column Bolted steel plate connection Shear bolts connecting beam to tab plate Metal connection plate welded to column and beam W10 steel beam Steel angle bolted to metal connection plate Shear bolts securing angles to plate
W12 steel girder W10 steel column Bolted steel plate connection Shear bolts connecting beam to tab plate Metal connection plate welded to column and beam W10 steel beam Steel angle bolted to metal connection plate Shear bolts securing angles to plate
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1. W12 steel girder 2. Shear bolts 3. Stiffiner plate for girder connection offers resisting moment 4. W10 steel column 5. Tab plate welded to column and bolted to beam web 6. W10 steel beam
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Student: Alexis Coir Unique Name: acoir Original Date: 2.1.2007 LAB Instructor: Zellner
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Moment connection: girder to column
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1. W12 steel girder 2. Shear bolts 3. Stiffiner plate for girder connection offers resisting moment 4. W10 steel column 5. Tab plate welded to column and bolted to beam web 6. W10 steel beam
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Toledo Housing Project: Structure Structural Details 3/8” = 1’-0”
ARCH 427:
CONSTRUCTION II
T h e i n t e n t o3 f t h i s c o u r s1.eW12 wsteela sgirder 2. W10 steel column t o g a i n t h o r o u g h4 k n o l w e3.d gbolted e steel o fplate connection to column a r c h i t e c t u r a l s y s t e m s t h r o u g4.5. hstiffiner t htabeplates iwelded r welded shear to column and 5 a p p l i c a t i o n t o a n e x i s t i n g bolted s t uto dwebi oof beam 4 1 p r o je c t ( in t hi s c as e, t he hous i ng p r o je c t fr o m S t udi o 3) .
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Date Revised: 4.8.2007
Co u r s e In s 2tr uc t or : K ar l D aubm ann L a b In s tr u c to r : P aol a Z el l ner
(Detail shows girder and beam connections in place)
1. W12 steel girder 2. W10 steel column 3. bolted steel plate connection 4. stiffiner plates welded to column Diagonal cross-bracing 5. shear tab welded to column and girder and beam bolted (Detail to web shows of beam connections in place)
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1. W10 steel column 2. 4” steel decking welded to beams with shear studs (composite decking serves as tensile reindorcement) 3. diagonal bracing 4. 6” poured concrete in steel decking 5. W10 steel beam 6. 6” concrete slab on grade 7. Poured concrete footing with foundation wall
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Toledo Housing Project: Structure Primary Structure not to scale
61’-6”
Student: Alexis Coir Unique Name: acoir Original Date: 2.1.2007 LAB Instructor: Zellner
Date Revised: 4.8.2007
25’-8”
01.01
Research Assistant
D a l e Winling PhD D is s er t a t ion D e pa r t m ent of U r ba n Pla nning U ni v e r s it y of M ic higa n, 2 0 0 7
Drawings for “ B u i l d i n g t h e I v o r y T o w e r : University Dev e l o p m e n t a n d t h e P o l i t i c s o f Urba n Spa c e .” From ab stra ct : “This thesis e x a m i n e s s t u d e n t h o u s i n g in Ann Arbor a n d a t t h e U n i v e r s i t y o f Mich ig a n b e tw e e n 1 9 2 0 a n d 1 9 8 0 a s a means of a s s e s s i n g t h e c h a n g i n g relationship b e t w e e n t h e c i t y a n d t h e u n iversity. I ar g u e th a t s tr u c tu r a l c h a n g e in the local r e a l e s t a t e e c o n o m y d u e to growth of t h e u n i v e r s i t y a l t e r e d t h e economic, poli t i c a l , a n d s o c i a l r e l a t i o n s b e twe e n Ann Ar b o r a n d M i c h i g a n ... This examina t i o n i l l u s t r a t e s t h a t t h e University of M i c h i g a n i s a n i n s t i t u t i o n inextricable fo r m i t s u r b a n c o n t e x t a n d that universit y l i f e a n d a c t i v i t i e s a r e g rou n d e d in lo c a l i s s u e s .”
Thompson Block Cluster 1925
Thompson Block Cluster 1945
I was asked to produce three axonometric drawings of the “ T h o m s o n B l o c k C l u s t e r ” in An n Arbo r. Ea c h d r a w i n g r e p r e s e n ts th e ph ysical s ta te o f th e n e i g h b o r h o o d at three chr o n o l o g i c a l b e n c h m a r k s : 1 9 2 5 (p re-Dep r e s s i o n ) , 1 9 4 5 ( p o s t- G.I. Bill), and 198 0 ( r e n e w e d i n t e r e s t i n private housin g ) . All drawings w e r e r e c o n s t r u c t e d f r o m Sanborn maps , p e r i o d p h o t o g r a p h s , a n d many hours of o n - s i t e i n v e s t i g a t i o n a n d educated gues s - w o r k . P a r t h i s t o r i c a l in vestiga tio n , p a r t c r e a ti v e e x e r c i s e , rep rod u cing th e Th o m p s o n b l o c k c l u s te r has prodded m e t o s e e h i s t o r y h i d d e n behind the ve n e e r o f c a r p a r k s , e m p t y lo ts, fire e sca p e s a n d fa c a d e u p l i fts .
Thompson Block Cluster 1980
sanborn maps
1960
1960
1984
2 .2 0 0 8 - c ur r ent N ew Yor k , N Y
>>Flatform MoMA, NY Role: off-site construction, on-site installation and coordination
Working at Marble Fairbanks has effectively been a second education for me. Scott Marble and Karen Fairbanks founded the firm based on the principals of innovative design and research. Both are educators (Columbia and Barnard, respectively), and many in the office are actively engaged in academics. The resultant intersection of theory and profession informs everything from the implementation of new technologies to team discussions on rethinking collaborative processes within the field. Marble Fairbanks is a small office, which means that everyone is involved to some extent in all projects. Though I have worked on many, I was (and am) most involved in the two on the following pages: MoMA Flatform was a piece commissioned by the MoMA for their 2008 show â&#x20AC;&#x153;Home Delivery: Fabricating the Modern Dwellingâ&#x20AC;?. Flatform is a panel system whose two interconnecting tabs are parametrically linked. Role: off-site construction, on-site installation and coordination. Glen Oaks Branch Library is a new 18,000 sf building in Queens, NY. Most notably I have been working to translate 2D CAD drawings into a BIM interface (in this case, Revit). This is hugely instructive, as it entails working with multiple systems in a fairly complex building. Due to the complexity of the project and the limited representation of 2D drawings, inevitable conflicts arise when modeling that must be analyzed and resolved. Personal responsibilities have included complex landscaping and ceilings, millwork, electrical fixtures, and interior partitions.
diagrams: Zachary Aders
3. Fold Minor Tab Into Major Tab 1. Fold Up Lock Tab
Major Tab Cutout Surface 2 Minor Tab Cutout Surface 1
Connection Centroid
Shoulder Cutout Surface 1
2. Fold Major Tab Thru Shoulder Cutout
The overa l l g e o m e t r y a n d a p p e a r a n c e o f F l a t f o r m i s g enerated fr o m th e t o p o l o g y o f t h e t a b s e t . E a c h t a b set is mad e u p o f a m a j o r a n d m i n o r t a b , o n e o n e a c h o f t he fac ing fla t p a n e ls , in a pr ec i s e r el at i ons hi p t o eac h other, tha t b e n d a n d s t r uc t u r a l l y l o c k t o g e t h e r .
2 .2 0 0 8 - c ur r ent N ew Yor k , N Y
b u i lding above-grade, l a n d scape, cellar
r endered perspective. MFA
cellar ceili n g u n d e r s t r u c t u r a l framing
<<Glen Oaks Branch Library Queens, NY Role, BIM (collaborative): landscaping and ceilings, millwork, electrical fixtures, interior partitions, general modeling
c e l l a r c e i l i ng
cellar ceiling as massing model with mechanical ductwork
ADULT READING AREA
se c t i o n t h ro u g h cel l ar ; rota te d s k y li g h t s
cellar reflected ceiling plan.
drawing: MFA