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BRYAN DIGITAL FABRICATION SPECIALIST RAEL SAN FRATELLO ARCHITECTS ALLEN 1812 Pearl St EMPLOYMENT:
Parametric design and CNC fabrication of SOL Grotto at UC Botanical Garden summer artists installation Instruction to students on CNC and 3D Printing operation 2012 Contact: Ron Rael +1.510.207.2960 studio@rael-sanfratello.com
Alameda CA 94501 +1.801.916.0885 +1.510.730.1065 skype: b.allen450 arch@arc-x.org TECHNOLOGY PROTOTYPES DESIGNER WWW.ARC-X.ORG FLECTIVE IMAGING SYSTEMS
Design and fabrication of geometry based adaptive
surfaces for architectural applications Masters of Architecture imaging 2012
University of California Berkeley
2012 FABRICATION SPECIALIST UC Berkeley CED
and fabrication of special projects including Unknown Fields Researcher Design reception desks and NAAB exhibition materials
Architectural Association London
2010-2011
2011 Contact: Tom Buresh +1.510.642.4942 buresh@berkeley.edu
Honors Bachelor of LAB SUPERVISING TECHNICIAN Science: Architectural CAD/CAM UC Berkeley CED Studies Upkeep and maintenance of Laser Cutters
and 3dPrinters. Teaching operation, modeling and selection to students. User Scheduling. 2009 material 2010-2011 Contact: Patty Meade +1.510.501.7973
University of Utah
ARCHITECTURAL INTERN Assist Inc.
Site assessment, design and construction phase documents of community design projects and access modifications. Developing educational publications and presentations. 2008-2009 Contact: Roger Borgenicht +1.801.355.7085
MODEL BUILDER Jacoby Architects Fabrication from presentation model display in completed 2009 Contact: Joe Jacoby
AWARDS:
2011 JOHN K. BRANNER FELLOW
1 year worldwide traveling fellowship awarded for individual research on the topic of Post Industrial Latent Space
STATE OF UTAH GOVERNOR’S SCHOLAR
University of Utah and Utah Governors Office 2005
NATIONAL MERIT SCHOLAR 2005-2009
PUBLICATIONS:
"Post Industrial Latent Space" Volume Magazine #31 Guilty Landscapes 2012
"TERRATOXIS" Disruptive Studio
Masters Thesis UC Berkeley advrs: Mark Anderson, Ron Rael, Joonhong Ahn Phd. 2012
"Examining Profound Experience: Exploring the process of profound experience for a better architecture" Honors Thesis, University of Utah advr: Julio Bermudez 2009
"Top 10 Ideas for Home Improvement" published by Assist Inc. 10,000 copies in circulation distributed by: Salt Lake County/Salt Lake City designer, writer, researcher 2009
EXHIBITIONS+LECTURES:
TERRA TOX'IS construction documents of and display case for client project +1.801.363.1434
PROGRAMS AND SKILLS:
RHINOCEROS 4,5 AUTOCAD ARCHITECTURE GRASSHOPPER SCRIPTING MODO ARDUINO PROGRAMMING MAXWELL RENDER ARCGIS RHINOCAM CNC MILLING VCARVE PRO CNC MILLING ALGOR FEA SIMULATION ARCHICAD BIM MODELING ADOBE CS6 COLLECTION 3D PRINTING IN ALL MEDIUMS CNC/LASER DIGITAL FABRICATION WELDING AND METAL WORK CONSTRUCTION TECHNIQUES PHYSICAL MODELING IN ALL MEDIUMS ANALOG & DIGITAL PHOTOGRAPHY MICROSOFT OFFICE, EXCEL
Lecture and Exhibition UC Berkeley 2012
SOURCE
gallery show of architectural works Headquarters Gallery Berkeley 2012
In Ruins
architectural photography show University of Utah, Bailey Gallery 2009 PRESS:
ICON magazine 105 Wiles, Will "The Irradiated Zone" cover photo,
photos and interview featured 2012
SF GATE 8.15.12 Eaton, Joe "Natural Discourse at UC Garden" SOL Grotto Featured
HINGE magazine
cover and feature photos Sparano-Mooney House 2010
sf datascape
Pier 70 technology campus architectural dynamics
////////2010 sf waterfront
uc Berkeley: Francisco Pardo zac rockett
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The port was the hub of information before telecommunication, here new knowledge
goods and Ideas were exchanged compared and utilized. The Great cities of the world are port cities specifically because the easy adoption of novel ideas. In the modern world we have turned away from ports, shipping has been containerized leaving many waterfronts dilapidated and misused. The essential exchange of information growing culture now exists Online. Though it is not at ephemeral as at first glance, The INTERNET is inherently physical. Only a few dozen undersea cables carry 85% of worldwide traffic.
These cables follow the historic shipping lanes and make landfall with little fanfare outside the ports they replaced. San Francisco’s Pier 70 waterfront is uniquely positioned on the SF-Silicon Valley backbone with its tech centers. The SF data scape envisions this blighted shipyard into a technology campus with mixed program of public waterfront, housing, and business with tech/startup incubators as the focus. Its goal: to re-socialize and re-physicalize a divided city through open architecture and interactive cityscape.
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1 public entry 2 media development 3 amphitheater 4 townhouse units 5 apartment units 6 tech development 7 public waterfront
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Illinois St.
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previous:
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19th Street
longitudinal section
above:
world shipping lanes and undersea cables right:
Pier 70site plan
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The immense growth of the tech industry has happened behind closed doors. Campuses are akin to corporate gated communities where only the chosen can enter, this kills the flow of ideas and interface with a real world. The opens onto Indiana street with a large covered public plaza inviting walkers bikers and boaters to enter with a vista of the water along the historic slip. The public plazas provide circulation through the campus to the buildings and eventually culminating at a water plaza on the bay. along the promenades there are public amphitheaters and working space. The campus provides free INTERNET and incubator spaces for
tech startups and hacker spaces. Public and private programs interface as presentations are given in view of the public. The chance for inspiration and informal interface is maximized by directed openness. The structure itself reflects this openness, Pre-cast concrete members are wired with LED strips and screens. As data passes through them they change color and form representing the type of work going on. A glowing, breathing, beacon in the bay fog.
above:
Promenade Amphitheater opposite:
Indiana Street Entrance
Public Spaces and the former port buildings provide the framework for smaller private living and working units. They form a spatial gradation of nested spaces from public to private. They exists as nodes within a network, utilizing not only the advanced infrastructural aspects of the building but also the social interface and networking inherent to the project. This nodal network model expressed architecturally provides a new
a vision for integration of technology, architecture, and a vital waterfront. model for San Francisco:
above:
unit plan/section
opposite:
interior data flow
above:
perspective section
Genesis housing
Multi family residential Social and urban Densification
////////2008 SALT LAKE CITY, ut
University of UTAH: jorg rugemer
previous:
1/8� model from top:
street effect studies form finding models site plan opposite:
street elevation unit section
An organic growth of urban fabric:
A macro-organism, consuming and redefining the static conservative complacently of the Salt Lake city street-scape.
Sited on the west side of the city, on the new north temple light rail line, This project aims to create a new standard for living, by taking on a historically marginalized site and exploring it's potential as an example of dense transit oriented development. Ambitious forms set a trend for better residential design in the city. To create a new living model requires a redefinition of the street
below:
street transit rendering opposite:
level plans unit plans
type a
LEVEL 1
LEVEL 2
LEVEL 1
LEVEL 3
LEVEL 3
LEVEL 2
roof PATI0 LEVEL
roof PATI0 LEVEL
type b
type c
left:
1/64�=1’ site model below:
interior courtyard opposite:
3/8"=1' sectional model
scape and a conversion to a more truly urban model. More walkability, effective transit, more density, the essentials of creating a community of interaction. The project consists of a mix of 18 townhouse units with a street-front retail unit. They are arranged to maximize window and street exposure and oriented to the inner courtyard. The facade system is designed to extend the order of the units into the local landscape and incorporate the building as an alternative extension of the axial and linear order of the city fabric. Far from needing more inward looking and exclusionary developments, Salt Lake City needs more openness, design, and urban integration. It needs more community living and more mixed use development. This project is a start, a first move into an EVOLUTION OF the CITY.
SOL GROTTO
solyndra rod installation transmissive porosity
////////2012 berkeley, ca
rael san fratello architects
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Existing deck extended [1 Existing bench integrated [2 1368 Solyndra rods [3 Blackout interior [4 waterfall and rock wall [5
1368 glass rods
out of 2.4 million of the lot left behind when solydra went bankrupt found a new life in the SOL grotto in the University of California Botanical garden in the hills above Berkeley. Rael San Fratello architects was invited to create an installation utilizing the rods as part of the gardens natural discourse event.
previous:
3pm interior
The installation extends and covers an existing deck next to a waterfall in the California section of the garden. The rods perforate a solid wall and protrude a set distance to create an undulation pointillist surface of light. Each hole was milled to a tolerance of 0.003� to align the rods to each side of the wall and provide enough resistance to hold them after being initially set. The rods were then calibrated to individual depths to create the undulating surface according to scripted design parameters.
The result is a solid yet porous surface that brings light air and the soft sounds of the waterfall and garden into the calming darkness of the space. The sound and smell of water echo the dark interior. The rods glow even in foggy conditions transmitting opposite: grasshopper script collected light inside. top:
plan creekside axo
rod depth guides
museo de lima museum of a people’s city
barrio river revitalization
////////2010 lima, Peru
Uc Berkeley: Rene Davids
“River/City/Life”:
revitalization and reclamation of the heavily urbanized Rimac River at an impoverished site in the liminal fringe of historic Lima. Pedagogical Museum program “to inform, influence and inspire people making decisions about the built environment at all levels” Site of a former garbage dump encroached by informal housing, “barriadas” in close proximity to the colonial center. Issues of culture+class conflict and environmental remediation paramount.
pervious:
tower view opposite:
barrio plan above:
sections building plans
A
Museo de lima is not a traditional museum presenting just another above: collection of edited relics from a contrived past. It is a profound barrio side entry reordering, a remembering of forgotten sequence: River-Bridge- bridge aerial Tower-City. It is a warping and peeling of the underlying and buried contextual fabric of the built environment to reveal and re-realize the true nature of Lima. It is a museum of the people, a counterpoint to the corporate watchtowers and walls defining the streetscape of the city. It’s a connection of high art and graffiti, the sacred and profane, the slum and the villa, the river, the sky, the rock, and the city.
This project reconnects the developing waterfront park in the above: colonial center of Lima through a reclaimed riverfront, river crossing, museum tower section interior and tower to an overarching view of the city. This progression rises museum opposite: from the river edge though local grasses, shrubs, and boulders museum interior moto exhibit transected by paths and seating where couples congregate. It ramps up, pulling forcibly out of the ground geometric masses of rammed earth evoking the contextual built environment and geology. The path continues into these forms creating the museum ruin: dark corridors with baffled entrances open into oculus lit galleries exhibiting publicly chosen art.
The entire architecture becomes the exhibit wrapped as a “huaca” above: in a shimmering glass sheath. The progression syncopates from light 1/2”=1’ section model level perspective to dark allowing flexible public uses in the gallery spaces. The roof opposite: public is drawn onward and finally up the tower to the moment of wall section opening: a wholistic realization of the city, and a People connected beyond time, space, and class.
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2.5in extruded glass rods powder coated white anodized aluminum secondary frame p.c. aluminum tension bracing steel -column with white anodized aluminum jacket precast color dc8a41 concrete cap 12 structural tie-in polished concrete finish floating slab lighting+systems plenum cast-in-place reinforced concrete frame reinforced precast rammed earth panel cold rolled steel oiled finish acoustic insulation c.i.p. reinforced concrete brace glazed railing acoustic floor insulation c.i.p reinforced concrete 2-way structural slab 13
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nerve center
art and technology charter school warehouse district, slc
////////2009 salt lake city, ut
University of UTAH: Libby Haslam
1ST FLOOR
3RD FLOOR
2ND FLOOR
4TH FLOOR
oral presentation based lecture based
group based
forum based
digital media based charter school: Stratified informal learning The emergence
of digital technology has led to an inevitable rethinking of the education experience and the weight of media in education. Old spatial models of schools are outdated and unable to adapt, a new model is needed. The NERVE Center expands upon the educational program started at SPY-HOP media productions in downtown salt lake’s emerging warehouse district.
individual based
computer based
lower grade
upper grade
teacher office
guerrilla learning class section
pervious:
The School focuses on a tiered stack of k-12 classrooms. Overlapping gallery spaces meet at each grade level toinspire the grades below elevation and provide opportunity of informal learning. The canted classroom section volumes sit above the public program spaces and form a barrier opposite: site plan from the street for outdoor play areas in the heart of the city.
1/16�=1’ model above:
floor plans classroom plans
native plant green roof substrate with retention matrix drainage layer/root barrier rigid insulation drainage tub
triple pane curtain wall
exterior wood screen
glass railing acoustic insulation
modular acoustic rubber floor system cable space below composite slab web joists with mechanical plenum acoustic drop ceiling (B) upper wall section steel structure
zinc panel system operable screen ventwood (tm) screen operable windows operable screen
perforated metal screen recessed metal base
(A) full wall section
(C) lower wall section
The interplay of informal and formal instruction is assisted by modulating material porosity to provide a gradation of private spaces. The main corridors are wide and well lit with many nooks for art and media installations and small group socialization. the building is supple but robust, rubberized flooring and wood walls with dampers muffle the potentially overwhelming sounds of interface. Air spaces and raised flooring provide avenues for future technological additions and modifications. The School’s architecture
openness and an interactive media focus .
expresses an
above:
1/4�=1’ model opposite:
wall sections interior renderings
sea level rise infrastructure sfo to foster city
////////2010 foster city, ca
uc Berkeley: jill stoner
SLOW-REVERSE/FAST FORWARD
“an architecture that is reductive and subtractive, addressing buildings as site that architecture can be excavated out of their very substance”. Buildings selected from the 101 Corridor with the intention to “reverse the environmental degradation of the past 50 years, while at the same time taking on the least appealing architectural products of that period”. Comprehensive studio drawing set: “1. Demolition, 2. Structure, 3. Codes, and 4. Details.” produced. Phase 1: converts conservative, security driven architecture of a fortune 500 tech company into a next generation closed-system sewage treatment facility.
previous:
tidal swamp perspective above:
integration detail opposite:
drawing set: plans elevation structure plans
The system perforates the office floors introducing, light, air, plants, and animals while maintaining office functionality. Volumetrically the potential exists to treat 90,000 gallons of raw sewage expanding service across the Peninsula. The project will act as a functional treatment plant, as well as an educational opportunity expressing the process of waste water treatment and its integration into the bay ecosystem. The surrounding hardscape is removed and the lower floors opened to accommodate expanding wetlands due to sea level rise. Phase two elaborated on phase one by going up in scale to “explore the impending re-territorialization of the 101 corridor over the next 100 years�.
Phase one proposals expanded to corridor-wide strategies in order to create visionary images, city scale plans, and ballot measures to “engage both ecological imperatives and population growth along the corridor�. PHASE 2: San Mateo Bay Network (SMBN) amplifies the concepts explored in phase 1 by proposing a nodal network of vegetated service corridors (VSCs) that reorganize and integrate infrastructure while reclaiming lost bay wetlands. Assuming a 1.4m sea level rise, 35 km2 of land along the highway101 corridor will be submerged in the next century. Six waste water treatment plants and miles of utility corridors representing more than 9 billion dollars in public infrastructure, and serving the majority of the population on the peninsula will be lost. The SMBN
2040
plan calls for the system of VSCs to progressively replace and reorganize the inundated service corridors. They will be the harbingers of phased reclamation as well as provide an evolving service substrate for construction of the next vision of the corridor as it adapts to the changing bay. The VSCs will first restore historic creeks, waterways, and existing corridors. Then expanding with the rising bay, they will form a green network and tidal buffer zone connecting
vegetated space and mechanical service.
new and remaining structures with sinew of
2070
2100
previous:
tidal inundation
above:
network cities
ticket office pavilion Adaptive spatial definition
////////2008 alta,ut
University of UTAH: JOE JACOBY
A ticket office by day and an outdoor club by night for Alta ski resort: A daily and seasonally dynamic site provides programmatic challenges as well as an opportunity for the intervention to be a connection to the past and the future of Alta. Inspired by time spent in the mountains.
The project connects the arriving skiers with the goldminers daughter lodge and the new sunnyside base. it defines a moment of arrival and a transitional threshold to the mountain.
previous:
1/4�=1’ model above:
architectural flow studies opposite:
entry elevation
rammed earth panel bat insulation interior steel tube structure heated roof to reduce snow load and ice damming
LED interior fixtures
perforated steel polished aluminum frosted glass
insulated ticket window
wood/cor-ten insulated thermally isolated wood sill
exterior rebranding logo plate
foundation insulation
Alta Receives over 500� of snow each year. environmental factors led the design to be constructed using modular insulated rammed earth panels mounted on a steel frame. This modularity allows for future additions as well as seasonal modifications according to the highly variable mountain climate. The interior of the structure houses a simple ticket office program inside heavily insulated walls. Form is extracted from tangents of skier paths. Serpentine spaces flow around angular walls, guiding the skier from car, to ticket office, to lift. The plaza creates a gateway and a sense of arrival for the base area, orienting and directing skiers and guests. The central node, a gateway to Alta.
above:
re-branding insulation section detail opposite:
ticket office plan
below:
plan
opposite:
section
parametric pavilion folded plate span
////////2010 berkeley, ca uc Berkeley
structural optimization
“ , negotiating material, digital, visual, aesthetic, etc. conditions towards experiential and perceptual criteria� Kubb Dome imposed a shelter program for viewing lawn games in the courtyard of wurster hall. The formal strategy warps the existing courtyard surface into a small folded-plate enclosure. A parametricized folded-plate script was applied iteratively to sclupted base surfaces. The final surface was then unrolled and tabs+holes for nylon fasteners were added via script. The final surface was structurally analyzed to identify where holes could be punched. Pieces were then laser cut from HDPE. Prefabricated in strips, the installation was erected in under 2 hours by 4 people.
Enormous plasticrainflower recycled prefab pavilion
water purification structure
////////2009
wurster courtyard Uc berkeley: mark anderson
.5L: catchment petals, transfer tubes 1L: manifolds and catchment 2L: structure 3L: catchment and filter
a group “study in structure, construction and materials“ constructed from “fertile waste of excessive human consumption” to “capture and purify drinking water from the sky”. ”Beautiful and grotesque, our flower will further serve as a wide-spreading public umbrella tree drawing people to gather under its shelter”
E.P.R.F. was constructed from over 3000 2L, 3500 .5L, and 90 3L bottles harvested from a local recycling plant. Cut and heat-welded they formed structural members and tubes capable of resisting tension/
compression forces, conveying water, housing activated carbon filters, and supporting storage bladders. A system of space-frame water storage pylons formed a translucent airy pavilion; shading, harvesting water, and defining an intimate space in the courtyard. The flower was prefabricated in pieces and installed by the class in 6 hours. After its exhibition it decomposed organically piece by piece into the urban Berkeley environment.
digital ceramic
parametric facade modular carapace
////////2010 berkeley, ca
uc Berkeley: Ron rael
ceramic CNC milled tile
cast resin insert
welded wire plate network
machined mounting rails
machined mounting rails
An exercise in digital craft:
Starting from a digital file a tile blank is milled into plaster. It is then slip cast and replicated to fired ceramic tiles. The tiles are glazed and resin is poured into the holes. They are tapped and metal rods are inserted to interface with the secondary structural hex grid. The hex grid is a deployable substructure and is attached to the primary curtain wall steel structure. The module is expandable to a full curtain wall scale and lighting can be integrated into an interactive facade. Through this process an facade made of unique tiles specifically adapted to their locations is possible.
mobile worker housing temporal 3d printed structures
////////2011 sonoma, ca
uc Berkeley: Francisco Pardo zac rockett
California’s wine industry could not survive without migrant labor.
It takes 8 workers 2 days to harvest 35 acres of vines. According to recent demographic surveys: of those 8 workers , 6 are married, 4 live in the same space as their children. 2 of Bourgeois taste is balanced on the backs of marginalized laborers. them have 1 child, 2 have 2 children, and one has 3 or more. So In California’s Napa and Sonoma County 92% of overall agricultural per 35 acres (a small vineyard) a total of 20 worker families need to be accommodated. yield is comprised of wine grapes. Worker movements comprise an often overlooked and temporal nodal network driven by changing seasons and harvests. Yet it The Terra:Motus system is a solution for integrating the is this network that ensures the yield of one of the most famous temporal pilgrimages of both wine tourists and workers with permanint Artist in residence abodes. collections of wine in the world.
6.21_8:35_301° 6.21_5:48_59°
6.21_8:35_301° 6.21_5:48_59°
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12.21_7:21_119° 12.21_7:21_119°
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pruning
sowing
harvest
harvest
upkeep
pest control
6.21_8:35_301° 6.21_5:48_59°
6.21_8:35_301° 6.21_5:48_59°
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gestation
milking
calfing
The permanint residents on the site are wine managers and artists in residence. Artist towers are dispersed through the above: site along existing access paths turned into bike-ways. As the topographic suitability map crop/work/time graphs season approaches these towers are encased in full scale 3d printed shells for the arriving workers.Using crop predictions the structures are designed uniquely each year to house the adequate number of workers. previous:
towers in the vineyard
The 3d printers use earthen materials from the landscape and provide a concrete like structure for the workers. During the growing season the structures cure to a sufficient hardness in the
+140<printer level>
+130<patio/view>
+120<bed/bath>
+110<kitchen/dining>
+100<entry/storage>
sun. As the harvest approaches the workers arrive and inhabit their towers. They cohabitate with the local artists in the newly constructed structures. After the few days of the harvest the workers move on and shells are then available to tourists and cycle tourists as lodging in the vineyards. They are afforded a unique view and integration into the 24 hour agricultural ballet of a vineyard. As the rainy season arrives the rains turn the 3d printed structures back into earth and they melt away back into the landscape. The artist in residence begins the process of designing next years structure.
opposite:
sample units plans vineyard dispersion
above:
additive manufacturing process following:
wine tasting in vineyard
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6 1. DEEP OVERHANG AND SUN SHADES 2. SUPER INSULATED ROOF: SIPS PANELS OVER FULL-CAVITY SPRAY FOAM MAINTAINS COOLING IN SUMMER AND WARMTH IN WINTER
3. THERMAL CHIMNEY WITH OPERABLE WINDOWS FOR CIRCULATION AND PASSIVE COOLING 4. VENTILATING WHOLE HOUSE FANS DRAW HOT AIR OUT THROUGH THERMAL CHIMNEY FOR ADDITIONAL COOLING 5. CEILING FANS PROVIDE TEMPERATURE DESTRATIFICATION AND COOLING AIR MOVEMENT
6. GROUND SOURCE HEAT PUMP PROVIDES HEAT TO THERMALLY EFFICIENT WELDED STEEL RADIATORS FOR ADDITIONAL HEATING, SUPPLEMENTED BY EPA-CERTIFIED WOOD STOVES
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1 LIVING/DINING AREA 2 DINING NOOK 3 KITCHEN 4 PANTRY 5 ENTRY 6 MUDROOM 7 UTILITY 8 WOOD-BURNING STOVES
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SECOND FLOOR 8 MASTER BEDROOM WITH WOOD-BURNING STOVE 9 MASTER BATHROOM 10 OPEN TO KITCHEN BELOW 11 BATHROOM 12 CHILDREN'S BEDROOM 13 SLEEPING NOOK
montana cookhouse project visualization freelance competition entry
////////2012 ////////////
Fernau and Hartman Architects
post-industrial latent space 2011 branner fellow research post-industrial architecture
////////2011 ////////////
uc Berkeley
The Branner Fellowship is awarded each year by the UC Berkeley Department of Architecture to 2-3 Masters of Architecture Students in preparation for their thesis year. The fellowship funds a year of international travel on a research agenda of the students definition.
Virtually every city
in industrial regions, no matter its size grapples with the challenge of unused manufacturing facilities and other industrial sites1. Existing within a guilty landscape generated by their excess and excretions these post-industrial latent spaces permeate the contemporary built environment and present an evolving imperative for architecture. Vast zones of toxicity and dereliction they are the artifacts of the atomic and industrial age. They exhibit architectural dreams and fears, at once inspiring architectures promise, and ultimately aware of its inevitable entropy. Here the lines between solid and void; building and landscape; inside and outside become ambiguous yet, paradoxically present. In post-Industrial latent spaces we see buildings after the builders have left; the layers of human detritus peel away and materials and structures begin a temporal existence abstracted by time. Though in a condition of traditional disuse, post-industrial latent spaces are by no means empty. Rather than phantoms of past industry, in their latent state they are the host to heterotopic2 uses. From scavengers to scrappers, ‘Stalker’3esk pirates to paintballers, taggers to urban explorers, these sites are host to a myriad of temporal users. This use implies an assumption: that the exponential expansion and exploitation of the industrial society is now complete: terra incognita is a memory. A virginal wilderness has been replaced with contaminated ruin: the wastes of the Aral Sea, the oil sands in Alberta, the crackling spectrum of Prpyat, and the technicolor waters of Montana’s Berkeley Pit.
TerraToxis defines our age.
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1 Charles Bartsch and Elizabeth Collaton, Brownfields. Cleaning and Reusing Contaminated Properties (Praeger Westport, Conn: 1997) 2 Michel Foucault,Of Other Spaces Heterotopias translated by Jay Miskowiec At: http://foucault.info/documents/heteroTopia/foucault.heteroTopia.en.html (accessed Feb 15th 2012). 3 “Сtалкер” (Stalker) Dir. Andrei Tarkovsky, Alexander Kaidanovsky, Anatoli Solonitsyn, Nikolai Grinko. Kinostudiya ‘’Mosfilm’’ 1979
In TerraToxis we find Post-Industrial Latent Spaces (PILS) presenting a counterpoint to the former notions of exploration into virginal wilderness: the Urbis Incognita--hidden, subterranean, forgotten, or ignored ‘wilderness’ of the cities both dead and alive inviting exploration and temporary inhabitation by diverse elements as heterotopic space.
In dereliction they then present a nascent order not devoid of constraint, but providing a robust and thus actively adaptable system of architectural relation. Strong, malleable, and available they are a framework for a new architecture.
It is this malleability that provides their potential. Heavy base structure demands a certain post-rationalization: Despite the apparent lack of discernible order present in many former There is no sanctity of these buildings. Rip, cut, tear-err on the side of industrial zones they are grounded by the pragmatic efficiency of violence. They must be liberated cut free, exposed and exploded. Insert, the Industries that originally created them. Their former use is a destroy, mangle: Create. direct cuase of their contamination and dereliction so in spite of their dispersed locations, sites of a similar typology illustrate similar Indeed it is in this subtractive and paradoxically additive move that any spatial conditions and contextual relationships. architecture existing in PILS becomes more than simply a speculative project on a given site. Palimpsest additions by subtraction reveal Under that assumption it is therefore possible to extrapolate: that collage and juxtaposition in the evolving condition of sites1. In the reby studying and designing a sample of categorical sites, a more visioning of the Zeche Zollverein coal washing plant in the Emscher Park general understanding of that typology, it’s issues, imlications, and region into the new Ruhr Museum a subtraction by an art volume evokes challeneges is generated and its design methedoloy can be applied Gordon Matta-Clark taken a step further. A ribbon of glowing circulation to similar contexts. evicerates clumsy compartmentailzed industrial weight, recasting process and form. This architecture of introspective valuation and precise addition as exhibited in projects such a Peter Latz’s Duisburg-Nord Landscape Matta-Clarks work realized the artistic elements of subtraction and Park, Grimshaw’s Museo del Acero Horno, and OMAs Ruhr Museum the revelation of section: the spaces that can be created by such represent a profound shift in the way ‘blighted’ and abandoned moves. However the moves presented in these architectures propose not architectural fragments are reintegrated into the architectural only a bold subtraction revealing section and the spatial potential of lexicon and former industrial regions are redefined: from brownsites unexpected adjacency but rather, through the insertion of new volumes and architectonic elements within the created void, they effectively reto cultural loci. present the space entirely. Through the new voids a new process PILS are gargantuan structures devoted to dynamics and change: emerges, a new order, a new scale: a new space. This re-presentation a static framework representing and dedicated to the creation and of PILS is therefore intrinsically based on the spaces it evolves out of support of dynamic process. They exhibit a profound spatial order by treating them as hyper-local site conditions to be played off of and and a potential to inform an architecture that re-presents a site changed. while avoiding hackneyed nostalgic representation. As spaces of transformation they are inherently resilient matrices supporting change both structurally and programmatically. The complexity of the original function necessitates a simplicity and utilitarianism in 1 Niall Kirkwood, Manufactured Sites: Rethinking the Post-Industrial Landscape their basic structure and an ability to modify. (London: Spoon Press 2001).
Concurrent with the physical change of the structures though adaptation, the cultural reintegration of the sites represents a graft of new cultural relationships along vectors of industrial networks. Post industrial sites have embedded contextual connections to the cities they helped spawn, and this network has a capacity of being explored and expanded to understand the regional condition as a whole. These industrial networks represent prime paths for reclamation. As illustrated by the Highline in New York, and the Dequindre Cut in Detroit, cuts and vectors offer activating avenues through which a population can realize a new relation to the city. In conglomeration they provide the potential to create a multi nodal cultural and recreational network such as seen in Emscher Park. More than dealing with any one site, to design on a post-industrial space is to deal with a network. Itâ&#x20AC;&#x2122;s about reigniting the interface of the site to the city to impart a dynamic social condition in a formally static space, thus projecting the evolutionary urban condition of the industrial city beyond the individual site. Despite initial and persistent levels of toxicity, ecologically the sites provide a haven within the city. They possess a unique ecological richness and opportunity despite their toxic nature1. Although itâ&#x20AC;&#x2122;s easy to postulate that in the absence of industrial processes a natural system would begin to reclaim a site and move back towards its initial state, this is rarely the case. There is a nature that recolonizes the sites, but it is a nature of graft and adaptation. The industrial processes leave indelible marks on the environment beyond the visual frame guiding the selection of successful pioneer species. The international nature of resource collection and distribution carries along with it species which establish colonies in their remote new post-industrial homes. In Duisburg-Nord for example a colony of African jellyfish, inexplicably transported via ore shipments, has made its way into the water filled bunkers around the former furnaces. It is this very uncertainty and conglomeration of variables that make 1 Niall Kirkwood, Manufactured Sites: Rethinking the Post-Industrial Landscape (London: Spoon Press 2001).
these sites such fertile environments for design. They are collections of times, of machines, of ideas, and populations. As seen in Detroit and the Chernobyl zone, industrial production is projected though inevitable accident and obsolescence to create this space. It defines a population; it truncates lives and dictates new spatial conditions. These divisions define a haven of sorts, a liminal zone where insurgent populations and ecologies can exist. They are representative of innumerable tragedies but also evolving opportunities. This is the zone of fantasy and visions, of extremes and misfits, mutants and hybrids. PILS are proximally connected to the cities in which they helped spawn through the latent networks of industrial transport in which they were a part of. Along these corridors and extending into the sites a new ecology can evolve, quite remote for the original condition but never the less a haven for species and evolution. The insertion of architecture into the sites necessitates a subtractive move and an addition in the resulting void adding yet another level of palimpsest into the evolution of a landscape and architecture. But, above all these spaces are unique, their spatial condition unparalleled elsewhere, and in their evolution and recasting they shape the possibility of space, of experience and integration with process. They demand something more of architecture: A true moderation of technological imperative with sensitivity to form, aestetic, and space. It is our charge as designers of the built environment to take on such zones, to deal with them is not easy, the issues are severe but they serve as prototypes and vehicles of critique for more ordinary concerns highlighted by the extreme. In their re-envisioning the impossible can become probable, speculation a reality, and a postindustrial ruin a cultural icon.
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Guilty Landscapes can be amended. A city can be remade, a country recast, a culture renewed, from the ground up in TerraToxis.
5
27 .38 70 51 .11 30
The journey into the zone is a transition though the pastoral, after Kiev the landscape shifts from urban into forest and at the boundary of the zone small yellow signs begin to dot the landscape.
Close to the reactors the promethean landscape still bears evidence of the disaster. In some areas of the road the bus cannot stop In these sites there is a moment of criticality, when a site can be because the contamination downwind of the reactor is still too elevated to meaning or slip into dereliction and destruction. A city strong. Although the Red Forest has regrown, it’s prodigy are can embrace revolution and change (economic and cultural), or it will stunted and deformed. fall, fade, and burn. These moments are upon us, we must realize and act. Not towards overly nostalgic static preservation and representation The reactor itself is a sort of dark shrine. As the jurryrigged or towards overt re-creationalism without recognition of any past, nor iconic sarcofogas spalls and crumbles away thousands of workers operate in the zone building annother containment structure and towards exculsion and obfiscation, but towards a hybrid vision. decomissioning the other 3 reactors on the site. The 4th reactor With this imperative in mind we came to Chernobyl, the space of dreams itself is a pole of nuclear tourism. Although the only indication that and nightmares. Outside of reality a no-place: existing on the liminal edge what you are seeing is special is the clicking and flashing Geiger counter; a talisments procured for the trip. of perception and space. Only a few venture into the zone. Pripyat was a purpose built city, a new utopian model for a workers built We pushed deeper into the ghost city of Pripyat. The buzz of the Geiger counter was drowned out by the wind in the trees and insects, on the promise of the ‘atomic city of tomorrow’. the smell of roses all around. With all necessary safety gear we entered the zone, Our bodies silent recorders of events. DNA in a cosmic shooting gallery. Sensors chirped Explorers wandered through spaces one fulfilling the social needs of and cameras snapped. I carried with me a lead pouch of x-ray film a company town. attached to my head, chest, belt, and foot. My Go-Pro recorded center of mass motion while the Geiger counter and GPS bore silent witness to In the bright light and clear blue sky of a July day the birds sang and insects chired. The cliched images of the ferris wheel bore little the interactions of an ephemeral electromagnetic topography. relation to the ominous presence it evokes in digital media. After the accident in on April 29 1986 for 2 days the city carried on life Another infamous location, the community swimming pool became a as normal as fallout silently rained down around them. launch pad for ‘spiny-whinny’ the recon drone. On the third day the entire city of Pripyat was evacuated. Our final stop was the school, books littered the tables and ground, left a bit too perfectly to be a completely organic image of decay. The gas mask room rounded out the trip, a questionably authentic macabre image of gas masks broken out of boxes and strewn on the floor greeted the visitor-along with a guest book. This was it, the center of the Ruined world.
The hope of an ‘Atomic city of tomorrow’ forever dashed.
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Our final stop in the zone was a visit to one of the small resettlement villages. Here, after the fall of the soviet union small groups of elderly formally displaced villagers were allowed to return and tend their fields and live their lives. I had the Geiger counter as we approached the village, the levels dropped markedly as we passed though Chernobyl town and into the forest, they continued to drop. When the bus stopped, the level was lower than background in Kiev. We walked down and overgrown wagon road toward a cluster of small houses disappearing into the lush grassland. Amazingly pastoral, the surroundings were calmly beautiful. The levels were normal. On top of a well a cat rested. The farmer and his wife came out and the greeted our guide Maxim warmly and offered rare and friendly Ukrainian smiles to us. They talked and gave us a tour of the farm. These farmers were some of the only ones still offering to talk to visitors, after the Fukushima disaster their village was overrun with reporters and many stopped talking. Our hosts were incredibly gracious and so welcoming that with Maxims reassurance and following his lead a few of us even popped a couple of the ripe hanging mulberries into our mouths (delicious!) [I also took a sample to be mass-speced later, we will see the intelligence of this small indulgence] After showing us around the farm, the ponds, and the fields, we gave the farmers a few gifts scrounged from our supplies. The group posed for a photo. You cannot taste radiation, It has no feel, no smell, yet it has left indelible marks on this landscape. A electromagnetic topography exists in contrast to and augmenting the physical ground. In zones like Chernobyl and Fukushima the invisible and ephemeral become more of a concern than the overt. The industrial production of nuclear power projected though inevitable accident and obsolescence has created this space. It defines a population, truncates lives and dictates new spatial conditions. These deviations define a haven of sorts, a liminal zone where insurgent populations and ecologies can exist.
opposite:
Chernobyl radiation data
It is our charge as designers of the built environment to take on such zones, to deal with them is not easy, the issues are severe yet lend themselves to mehtods of data driven design. They serve as prototypes and vehicles of critique for everyday concerns taken to the extreme. These sites are warnings and testbeds, testiment to human folly and strength; they are not going away anytime soon.
masters thesis
radiant ephermera architecture of radiation
////////2012 fukushima,japan uc Berkeley
2111 [+100]
>>There are 66,773 square kilometers in Japan that are above background levels of radioactive contamination
as a direct result of the Fukushima disaster*. That amounts to 28.8% of the island of Honshu and 17.7% of the total land area of Japan*. That volume of that area five centimeters deep* is enough to burry Manhattan under 56.11 meters of contaminated soil. Traditional methods of remediation have failed in the hyper dense condition of japan. It is no longer possible to apply the same scenarios that created the spatial condition of Chernobyl as an exclusion zone to never be entered.
>>Given that the inhabitation of radionucleide contaminated zones is both inevitable and ongoing, the
availability of hyper local open source data coupled with robotic implementation of rapid prototyping and digital fabrication at a landscape scale, a method can be derived to remediate and construct architecture out of this toxic earth.
2061 [+50]
2041 [+30]
4.89%
15.66%
203
ad
r /hr µSv yr 0 7 / . 5 mSv 50
t limi ker
x]
[50
wor
relative residual
25.00%
31.86%
2012 [+1] 41.78%
3.2011
2021 [+10]
100%
31 [+20]
83.3%
10000
Cs 134 Cs 137
µSV
an ct sc
0x] hr [1 µSv/ 7 0 1.14
EPA
limit
mit gram [5x] li ammo Sv/hr SV m µ µ 5 0 3 0 ] 30 0.570 xray it [2x ] ] x A lim Sv/yr pine le EP c limit [1.5 public [1 m SV s b µ u o 0 d 0 15 publi er to v/hr b a 14 µS r mem 1.5 ep 0.228 5 µSv/hr PA limit fo 0 0.17117 µSv/hr E 0.1140
_Japan 377,923.1 km² _ _Honshu 231,608.8 km² _Population 128,057,357
_California 423,970 km² _ _ _ _Population 37,691,912
0.11407 µSv/hr EPA limit for member to public [1 mSv/yr] 0.171105 µSv/hr 1.5x EPA public limit 0.22814 µSv/hr double EPA limit 0.57035 µSv/hr 5x limit
previous:
rendered section above:
radiation data graph
2061
2061
2021
2021
2012
2012
2011
2011
0.22814 µSv/hr ~2.00 mSv/yr
_2x greater EPA limit 2011: 7,291.423 km² 3.15% _Honshu
2061 2021 2012 2011
5.703978 µSv/hr ~50.00 mSv/yr
_[50x] limit for nuclear workers 2011: 808.764 km² 0.35% _Honshu
1.1407 µSv/hr ~10.00 mSv/yr
_10x greater EPA limit 2011: 1151.377 km² 0.49% _Honshu
2061 2021 2012 2011
11.407955 µSv/hr ~100.00 mSv/yr
_[100x] lifetime cancer risk increase 2011: 67.307 km² 0.003% _Honshu
>>Radiation is measured in micro Sieverts. For Example the EPA dictates that 1000 micro Sieverts or 1 milli Sievert is the acceptable background level for a member of the general public. in Japan 66773 square kilometers are at least 1.5 times that. 67 square kilometers have levels 100 times that and are above the cancer risk threshold >>The sensors that are collecting this data are part of an open source network called SafeCast which was put together by the Tokyo HackerSpace after the events of 3.11 to give an augmented reading of the Government’s picture of the radiologic situation in Japan. It’s a distributed source network and I’ve been able to work with 1.4 million data points to give an additioal idea of what the radiation situation in Japan is. This hyper local ability to read the landscape and provide impetus for intervention is new, this has never happened before, and no disaster has been able to be quantified in this way. It can be read: not only by humans but by robots.
a new method of radiologic remediation. Robotic Agents are dispersed into the >>This is
landscape; they seek radiation, deploy a drill and dig it up. That waste is then collected for stabilization. The waste is composed of the top five centimeters of topsoil and other materials.
KORIYAMA
HONJO
LIZAKAMACHI
NIHONMATSU
MOTOMIYA
HIWADA
SUKAGAWA
KOORI
FUKUSHIMA
UNK
KAWAMATA
FUNAHIKI
TOKIWA
KAMMATA
ONONIIMACHI
SOMA
HARAMACHI
ODAKA
NAMIE UKEDO
TOMIOKA
(福島第一原子力発電所
dispersion maps
opposite:
above:
radiation dispersion
opposite:
thickness calculation walker prototype above:
walker timelapse
Ib=Iaeµx
Ib: intensity after shielding Ia: initial intensity e: eulers number µ: material attenuation coefficient per cm x: material thickness in cm
//soil auger
//actuator
//Logic Control
//Contamination collection //Drive System
//IR sensor //Radiation Detector Array
//TerraToxis //Prototype α0.5 landscape walker >>The main contaminants are Cesium 137 and Cesium 134, are split about equally. The radioactive half-life of Cs 137 is 30 years the radioactive half-life of Cs 134 is 2 years. When the robots find a radiation source they dig it up. In that process they interact with the waste and to sort it. High level waste is vitrified in situ by a CNC plasmic
Waste is vitrified into a stable glass material.
vitrification machine.
dictated by both the substrate that they are adhered to and the levels of radiation that they have. The formal thickness is dictated again by an equation of shielding-for a certain thickness of material there is an amount of radiation attenuation that takes place across it. So for any shape there’s a mediating attribute to it. The creation of those forms is driven by the specificity possible though CNC controlled plasmic vitrification.
>>High level wastes are taken out of the landscape and >>Mid and low level waste are left in the landscape as transported back to the actual Fukushima Daiichi site for permanent artifacts of the contamination. Their shape is directly sequestration. At the entry of the project they are scanned and
quantified to be cataloged into a robot readable waste archive. High level wastes are then reprocessed and concentrated into archival blocks while low levels wastes are separated out and used to fabricate adaptive shielding. The thickness of any given tile in the network is dictated by the amount of shielding necessary at that point. So the thickness reduces the initial dose on the ground to a background dose on the new surface, effectively nullifying it. >>The method of storage is driven by topographic efficiency in that the robots seek the highest levels and they travel along the paths of least resistance towards them. Therefor they travel first along those paths storing waste there first.
56.221 69.93
below:
reactor archive section
>>The facility houses a research program: the TerraToxâ&#x20AC;&#x2122;is research below: facility concentrated around the 4 damaged reactors. It is a 3d reactor site plan printed vitrified glass structure based around a proto-module opposite: level plans which provides a containment ringed by circulation and service modulating contained and inhabited space. That module is then rotated though space in order to provide access and adequate shielding for the research program. This structure fulfills the necessary programs of the removal of fissile material as well as providing a matrix for the support of the study of radiologic effects on full scale buildings, objects, even spacecraft. The framework itself is constructed of concrete and steel in filled //04 with adaptive low level shielding tiles.
//03
//02
//reactor 01 research structure
//thickness to radiation archive con
s corresponds n levels inside ntainment
//enclosure
>>We have been aware of the existence of radioactivity for 110 years. In that short time is has inexorably changed the world and defined the Atomic age. Now in that post glamorous Atomic age we learn about radioactivityâ&#x20AC;&#x2122;s affects though disasters. Itâ&#x20AC;&#x2122;s changed the way we think about zone, environment and building. It has the power to render vast areas uninhabitable, unfit for architecture or for inhabitation. This loss of formally urbanized or developed land is unacceptable. To continue the exponential outward expansion of the past is not only irresponsible but in as highlighted in Japan indeed impossible. As architects we can no longer accept business as usual. We are unique in our multiple functions of moderating aesthetic, functional, spatial, and technical concerns. Architecture must exist on these sites.
//research framework
above:
reactor core section
//thickness corresponds to radiation levels inside archive containment
>>It is out nature to build, to restore, to survive, to learn, and evolve. This solution, for this time, for this place, for this problem, is Terra Toxâ&#x20AC;&#x2122;is.