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T H I S
I S
T H E
STAT E O F T HE UNIO N S P A C E W O R K
I S S U E
0 3
PHILADELPHIA UNIVERSITY COLLEGE OF ARCHITECTURE AND THE BUILT ENVIRONMENT
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Dear Reader, Building on the success of the two prior issues of SPACEWORK, a new group of students prepared the third edition, featuring outstanding design projects created during the 2015-16 academic year by our talented students. Relating the critical inquiry of the design process to contemporary issues in the design world, this edition entitled “State of the Union”
draws attention to the relevance and value of the architecture and design professions.
This year marks the 25th anniversary of the College of Architecture and the Built Environment at Philadelphia University. The architecture program was founded in 1991 and joined two years later by the interior design program. Since its humble beginnings, the programs developed into a mature college that today houses 11 programs in the design disciplines including graduate and undergraduate programs in architecture, interior design (rated a top-10 national program by DesignIntelligence in 2014), interior architecture, construction management, geodesign, landscape architecture, and sustainable design. More new programs are on the horizon including a new online M.S. in Construction Management and M.S. in Real Estate Development, both to be launched in fall 2017. With nationally ranked and award-winning programs, the college will keep evolving as we move into the next 25 years of educating future architecture and design professionals. As our professions are changing to address climate change and the need to develop resilient cities and healthy, livable communities, we are committed to addressing these important issues and educating the next
generation of design and construction leaders for a sustainable future.
The 2015-16 academic year also marks a particularly successful year for the college marked by many student and faculty achievements. Ryan Thompson won first prize in the John Stewardson Fellowship Competition, an annual student design competition held among all seven architecture schools in the Commonwealth of Pennsylvania. Jessica Livezey (team leader), Megan Ullery, and Tyler Scire won first prize in the “Urban Attached Housing” category of the Department of Energy sponsored 2016 Race to Zero Competition; Shawn Hale (team leader), Ronnie Alley, Jon Claudio, and John Matera won second prize in the “Suburban Single Family Home” category. For the sixth consecutive year, PhilaU interior design students swept the annual International Interior Design Association (IIDA) Tri-State Student Design Competition; congratulations to Angel Troiano for winning first prize, Amy Leigh Hufford for winning second prize, and Nicole Ciscenzo for winning honorable mention. Professor Harnish received a prestigious 2016 Fulbright Award to research and teach in Malawi, another outstanding accomplishment and validation of the excellent work and scholarship of our faculty. The annual DesignIntelligence dean’s survey also ranked the university’s landscape architecture program a top five program nationally. Congratulations! SPACEWORK celebrates the excellent work and creative thinking of our students and faculty. I am proud of their achievements. I would like to thank our dedicated students and faculty involved in this ambitious project, as well as Professor Donald Dunham and Advancement Council member Amanda Gibney Weko, who guided our students and edited the journal. Each year SPACEWORK tells the annual story of the college’s programs, students, and faculty. Twenty-five years from now, it will have developed into a compelling narrative of the critical inquiry and investigation of a whole generation of architects and designers. I invite you to read and enjoy the third edition! Barbara Klinkhammer, Dipl.-Ing. Executive Dean and Professor
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CONTENTS STATE OF THE UNION 04-17 I Let’s Take a Step Back
Karen Blanchard, Jonathan Bykowski
PASSION 18-35 I Fever
T.J. Burghart, Sean Lockyer
STEREOTYPE 36-51 I My Ego
Crystal Russell, Alexandra Overton
ARCHI-SPEAK TO ENGLISH 52-67 I A Non-Relatable Vocabulary
Laura Rennekamp
EDUCATION 68-85 I Expiration Date
Natasha Trice
THE HUMAN EXPERIENCE 86-103 I Let’s Take a Step Forward
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Thomas Acciavatti
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Indubitably, the internal use adjacencies and circulation impose smothering constraints upon the creation of an immortal monument to posterity.
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State of the Union Let’s take a step back. Everything we approach as designers we approach first as citizens. That’s why in this issue of SPACEWORK, we have stepped outside the A&D box for a moment to put our profession into perspective, to interrogate our overlapping identities as designers and citizens. We have taken stock
of the architectural world by placing ourselves fully in the shoes of the average citizen, and facing squarely in the eye the caricaturized version of the designer that persists in the public consciousness.
For the most part, it’s well off the mark. One gets the general impression that the public views designers as wistful daydreamers, spending their days lolling about in stark-white offices and inventing new shapes, taking a bit of time out here and there to prolong a construction process or send an invoice.
Here lies the disconnect. Surely these accusations can be levied at
a number of designers among us, but we are more than that characterization. Where, in that preconception, are the fresh and inventive multi-disciplinarians that we are? Our education reinforces the ability to work with an ever increasing number of trades and somehow keep it all together, to minimize cost, to maximize quality. Our ability to mediate beauty and technique allows us to facilitate serenity and security for all.
Imagine, for a moment, what the world would be like without designers. Who would care? If you asked the next passerby on the city
sidewalk, they likely won’t have ever met an architect, landscape architect, or interior designer, let alone understand the scope of their work. Despite the fact that your average human spends the vast majority of his life within buildings, intimately linked yet inattentive, this omnipresence necessitates taking a step back in order to gain some systematic understanding of how designers work. Let us not suffer the same fate as the Samurai did after the invention of gunpowder. We are not a novelty, but in order to avoid that fate we must be vigilantly approachable. We must communicate the relevance of our field as clearly and effectively as we do our design ideas themselves.
Let’s take a step forward.
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what’s
your worth?
‘10
LAURA RENNEKAMP Collaboration. Working on smaller, more personable, local projects, it’s more like a family. Trying to bring that energy and that mindset back into our profession is important. Working together, and learning from each other, and wanting to learn from each other allows us to do something awesome.
‘09
‘10
GRACE HERMAN I hope to contribute to the study of how to design and build in an environmentally sensitive way. There are so many opportunities for us to improve the way we do things in this industry, and I think that society is getting genuinely interested in sustainability.
CRYSTAL RUSSELL TVL Creative is just a little stepping stone in this whole sea of movement toward strengthening the design world. On a daily basis, I do my very best to communicate to clients the importance of good design. On a deeper level, I know that every project we complete is changing the life of a client. Their space makes them happier, more relaxed, and more excited.
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‘14
NATASHA TRICE I like to think I’m a humanitarian designer. It brings me joy to be able to help others using design as a tool to solve multiple issues. I think there’s value in that.
‘08
‘13
ALEXANDRA OVERTON The only way a person can truly add value to our profession and to this industry is by stepping up and getting involved. Yes, it is super important to be current on social issues and design trends so you can make well-informed design decisions, but you have to be able to establish yourself and feel as though what you do makes a difference.
JOE DICICCO Wow a loaded question...I would say as an aspiring architect, I continue to add value to this field every day through commitments to myself and to clients. A huge role we play is educating our clients – and the world on a larger scale – about “good design.” We as educators provide an immense amount of value to society.
‘14
T.J. BURGHART Interaction. Whether I’m interacting with my place, my neighbors, my house, or my bike, interacting helps me stay grounded and helps me be aware. Without that, I don’t know if I could add any value.
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KAREN BLANCHARD Wallace Roberts and Todd
an interview with
‘98
Interview by Theresa Starrs ‘16 TS: How collaborative is your work at WRT? KB: I would say that I do a lot of different things. I focus primarily on master plans, but it’s not the only thing I work on. I work on anything from urban design-scale projects, campus design, civic and cultural type projects, but then I also go into the architecture component, too. I like to dabble in all scales. I find it more gratifying to have a holistic approach to design. TS: How important is the collaborative process? KB: We always know what each discipline is doing, and we are always critiquing one another. Instead of having very solid boundaries, it is more interdisciplinary, and the projects ultimately benefit from it. There is something nice about having those other disciplines right next to you so that you can have a conversation and share ideas. TS: That’s very similar to how things work in studio. It’s very collaborative and interdisciplinary, which makes sense because that’s how it works in the real world. KB: Having that exposure in school and being able to come into a firm with that approach helps enrich projects. It’s not only about the building; all these different ideas come together. TS: What drives your passion and gets you out of the bed in the morning? KB: My alarm clock. What I really appreciate about the design profession that keeps me motivated is the design culture. We still critique each other in the office. It’s still very much a studio environment. We throw sketches up on the wall and really debate design. TS: How do you continue to push for new solutions and challenge the industry? KB: It’s very hard to work in a bubble or in isolation. The critical thinking that goes on in design reviews must continue into the work place. You need to be able to push each other and teach each other along the way because architecture is always evolving to continue to raise the bar. Otherwise you’ll become stagnant.
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OL LA OR TE
an interview with
JONATHAN BYKOWSKI
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Array Architects
‘04
Interview by Theresa Starrs ‘16 TS: What was your motivation for pursuing a dual degree in architecture and interior design? JB: For me, it was a very personal and successful happy accident. I was more interested in what, at the time, would have been described as interior design: essentially the shaping of environments in which people live and work, but I was concerned that it was going to be limiting. What I conceptualized as interior design and what Philadelphia University teaches as interior design was going to be harder to pursue without a degree in architecture. TS: You identify as an architect; is that because of various stereotypes associated with interior designers? JB: I introduce myself as an architect. Architect is an excellent word. It covers the idea of taking needs and requirements to fulfill a goal and creating something that does not currently exist to satisfy that goal. That is what I do for a living. That is what I’ve done every day of my career even though some years I focused on what is narrowly described as interior design. Some years I focused on what you would more broadly describe as architecture and now I focus on something completely tangential. But I am architecting. TS: What career moves got you to where you are? JB: I would start with the planning, which is typically done by architects, and then I would become the interior designer. I was never able to separate one or the other. However, I became more and more interested in working with clients and early planning and defining their needs. I started questioning the way we were working with end users to define their needs through process improvement and change management. Architects are very good problem solvers, but we are terrible problem identifiers. I realized that I was much more interested in how people want to work in a space, not what they need to do their work. TS: What makes you come into work every day? JB: Problem-solving. I love identifying a problem and trying to understand why we have it.
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BOX
The university’s President’s Office approached students with a request to build a piece for displaying student work in the sunroom of Reichlin House, the building that houses the university’s administrative offices. The nearly year-long design-build process led to the creation of an 8’ cube that was digitally fabricated on a CNC mill and manually assembled on site. The installation is illuminated at the core and features three screens for showing videos, images of student work, and campus events.
MSarch 771 jessica nonnenman ‘16, jacquelyn nemitz ‘16, shawn hale ‘16
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“We continue to bring different perspectives to the profession in designing spaces that are suitable for the needs of a project. We think openly to allow our designs to explore different paths to continue to solve problems and create positive experiences for the users.” -Ryan Thompson ‘16
ARCH D10 Ryan Thompson ‘16
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115TH JOHN STEWARDSON MEMORIAL FELLOWSHIP IN ARCHITECTURE COMPETITION FIRST PLACE WINNER
With the continued crisis in Syria and the resultant amount of displaces families, this year’s John Stewardson Memorial Fellowship in Architecture Competition was to design a refugee school for young women. The goal was to create a safe educational environment for these young women that provides protection from the violence and discrimination they are facing. Student submissions ranged from permanent to deconstructable designs that address needs for sacred prayer spaces, educational spaces, and play spaces.
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a
115TH JOHN STEWARDSON MEMORIAL FELLOWSHIP IN ARCHITECTURE FINALISTS
b
a
c
b
d A. ARCH D10 Jacquelyn Nemitz ‘16
d
d B. ARCH D10 Dylan Catino ‘16
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C. ARCH D10 Lob vargas ‘16
D. ARCH D10 Theresa Starrs ‘16 4/25/16 3:42 PM
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E
h
f
g
h E. ARCH D10 Veronica Magner ‘16
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F. ARCH D10 Meghan Ford ‘16
G. ARCH D10 Shannon scott ‘16
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B
MODERN LOFT & RESTAURANT CULTURAL INFLUENCE
Second year interior design students had the opportunity to design both a modern loft and restaurant for a hypothetical client from another country. This client wanted to bring their culture and heritage to the space, which became the concept and inspiration behind these spaces. These designs provide a modern take on culturally rich countries including Japan, Denmark, and Greece. Another challenge for this design is working within the constraints of a row home in Old City, Philadelphia, working with long and narrow spaces with little light. Both designs were done in the same building with the loft located on one of the upper floors while the restaurant was on the ground level. The loft was completed first and gave the students a better idea of how to incorporate the specific culture into their restaurant design. It also helped students adjust to the challenges of designing in a narrow space.
A
C
A
A. INTD D3 Sophia WarneRowe ‘18
B. INTD D3 Erica Lomando ‘18
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C. INTD D3 Anna Petronio ‘18
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B
B
D
A
A D. INTD D3 Alison McCabe ‘18
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WORK SHOULDN’T BE ROBOTIC
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Passion Fever.
It’s what gets us out of bed in the morning.
Put on your pants, grab a cup of coffee, and go. Ride to work, grab another cup of coffee, and sit down at your desk. Work, work, work. Forget to eat lunch. One more cup of coffee. Work a little more. Go home. Put on more comfortable pants. We’ve got ourselves a robot that enjoys coffee, not a designer.
Work shouldn’t be robotic, it should be fun. Work should
be about applying our passions. We get out of bed to create and draw and design things that make our hearts pound with excitement and pride. We do more than just sit at our desks. Day after day, designers are fueled with this passion; we love to design so much we even dream about it. It moves us. It moves you, too. Look around – design is everywhere. Let’s say you didn’t forget to eat lunch today and you’re enjoying a sandwich at your favorite coffee shop. Is your chair comfortable? How does the quality of the lighting make you feel? Do you have a nice view? How close is the couple sitting next to you? Design weaves through your everyday life. Design is always thinking
about you, even when you’re not thinking about design. Designers are constantly creating spaces to enhance our world.
Designers keep it relevant. As designers, we love to shape the built environment. But we also have other passions – a lot of them. Our passions fuel our creativity. We have been equipped with a skill set during our education that allows us to test this creativity in many ways. We are photographers. We are painters. We are chefs. We are furniture makers. We are musicians. We are writers. We immerse ourselves into all of our passions so we can mold ourselves into better designers.
Our passions keep us relevant.
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12:00
on a saturday...
‘04
JONATHAN BYKOWSKI AM: I’m helping a small human go to the potty. PM: I’m having lunch with the small human. There is no such thing as work-life balance, only work-life integration.
‘08
‘09
CRYSTAL RUSSELL I’m absolutely working. Saturdays are my favorite nights to work because clients have typically stepped away from their projects for the weekend and I have a lot of isolated, quiet time to catch up.
JOE DICICCO 12 PM: I am either studying for my Architectural Registration Exams or swinging a hammer renovating my farmhouse. 12 AM: I am probably sleeping. If you would have asked me that question five years ago, I would have said I would have been out socializing. I am not sure you can call hanging out with other architects socializing because it usually just turns into architectural debates. If you are friends with any non-architects (that’s rare) you usually bore them with your nonsensical jargon about how terrible the lighting is in the bar you are at or how the bathroom isn’t ADA compliant.
‘10
LAURA RENNEKAMP I’m hanging upside down. I picked up aerial hooping and I have a lyra in my backyard. I like to be active and outside; it’s another way to be creative and it’s a different way to think about and interact with space.
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‘14
NATASHA TRICE 12:00 PM; working for a deadline that I will probably pull an all-nighter for... ...12:00 AM - still working.
‘14
T.J. BURGHART We work Saturdays, so I’ll be wrapping up lunchtime, basking in the spring sun, something most are probably envious of. It’s nice to be able to stop and be present. However, if this were on a Sunday, I’d probably still be working: either woodworking at my folks’ place or dreaming up my canoe (that I haven’t made) or my rammed-earth wall (that I haven’t made).
‘13
‘10
GRACE HERMAN It’s always my preference to spend Saturday afternoons outside doing something like camping, going on a day hike, or biking. I’ve been finding that it’s the best way for me to unwind after the work week. One hobby/interest that I’m trying to get back into is art.
ALEXANDRA OVERTON 12 AM: I very well could be on Pinterest. 12 PM: I better have my behind at the gym.
‘08
MATTHEW SANDY Typical outdoor stuff: hiking, hunting, fishing. That’s why I got into landscape architecture – the love of the outdoor world. I came to PhilaU as an architecture student and that’s right when the landscape architecture program was in its infancy. Through the core class, I figured out that I enjoyed the environment around the building more so than the building itself.
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‘10
a coffee with
LAURA RENNEKAMP Freelance Landscape Designer
Interview by Jessica Nonnenman ‘16 and Jacquelyn Nemitz ‘16 JN: Could you explain your work designing public spaces in Philly? I know you have been involved with Design Philadelphia and that you’ve worked with Groundswell. LR: I’ve been working in the landscape design profession for about six years. It’s a little different than architecture in the sense that it is more outdoors and I feel like it’s more ephemeral than architecture. It changes a bit more. As I’ve progressed in my career, it’s gotten more ephemeral, which I like. I started out working at Olin, which is a big landscape architecture firm in Old City. When I left Olin, I started working at Groundswell on more local projects, which I really liked because it was more on-site, less permanent. So there’s a little bit more wiggle room and play, which I really enjoy.
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JN: What do you see as the impact and the potential that a permanent project has versus these temporary installations? LR: Oh, that’s a good one. I think the value in the temporary spaces is that they’re less expensive to build and design. They take less time, so the city gets to experience that space faster than a permanent project, which has a lot more permitting and documentation and building. When I was at Olin, I was there for three years and I worked on four or five projects, but when I worked at Groundswell, I was there for two years and I worked on 15 projects. JN: Is it more rewarding for you to be able see a project all the way through than to leave in the middle or pick up halfway through? LR: Definitely. The community, the city of Philadelphia, their reaction to spaces like Spruce Street Harbor Park, which was only supposed to be one season, made a huge impact on them. They were like, “What? This is going to close?” They actually contacted the water department and fought to keep it open and then it came back. JN: And this year it’s opening earlier, right? LR: Yes. It just keeps getting bigger and better. I think temporary spaces allow people to see the potential of the space, and they allow the organization to create more funding because now they have people who are interested. They have more backing; they have more support, so they can get more funding for a more permanent project. JN: I think it’s cool that Philly has been doing a lot of pop-up beer gardens and parks in the past few summers. I feel like it brings everyone together in these different places, which is really nice. LR: It also adds a curiosity to it because it’s not going to be there forever. There’s a deadline so it pushes people to go a little earlier than they might if it was going to be there forever. It also allows interest to build because it’s going to change. JN: Are you able to get a little more funding or a little more freedom from year to year to keep developing something like Spruce Street Harbor Park? LR: Olin actually did a master plan for the whole waterfront so now that the City has that big idea they’re able to get more funding whether temporary or permanent. It’s permanent and it’s a long term, 30-year plan, so there’s space for temporary pieces to test it out. JN: So your designs are a very hands-on kind of research? LR: Yes; it’s iterative. You do these iterations of it until you find out what the city likes and what the people in the city like, because it changes. Cities are changing so fast right now. How do you know that what you planned ten years ago, that’s finally going to finish being built now, is even relevant? Especially with landscape and architecture, it takes so long to be finished.
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MY FIRST DAY IN ROME BY THERESA STARRS ’16 ILLUSTRATIONS BY KRISTI RICE ‘19
Writing helps to formalize thoughts and release discontinuities. It is a jumping point for ideas and one of the greatest and clearest tools of communication.
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A
EVOLO SKYSCRAPERS PARAMETRIC DESIGN
This annual, international competition encourages highly conceptual designs for the world’s next tall buildings. Produced within the parametric design studio, these designs began with extensive studies of algorithmic design, naturally occurring fibrous systems, and textile weaving patterns. By the culmination of the semester, the research was applied to architectural space and formed into skyscrapers. B
C A. ARCH D9 JAVIER VILLARROEL ‘16
C B. ARCH D9 LORIANN NICOLADSE ‘16
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C. ARCH D9 HA PHAM ‘15
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“Group projects get me out of bed in the morning. You can’t let down your team.” -Samuel Siegel ‘16
D
E
E
F D. ARCH D9 JESSICA NONNENMAN ‘16, SAMUEL SIEGEL ‘16
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E. ARCH D9 FERAS ALSAGGAF ‘16, SUVIR HIRA ‘16
F. ARCH D9 MATTHEW MCMAHON ‘16
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C A
DRAWINGS & SKETCHES
PROCESS WORK AND EXPLORATIONS COMPLETED BOTH IN STUDIO AND OUTSIDE
D
B A. arch d4 MARA SIEGEL ‘19
E B. arch d2 KYLE TASIK ‘20
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C. arch d10 max yousey ‘16
D. arch d10 thaddeus heinz ‘16
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“Drawings are pretty & buildings are pretty; there’s a parallel.” -Brian Wise ‘17
F
G
“The possibility that someone can feel the way I feel in a space when I design a space keeps me going.” -Matthew Gilliard ‘17
F
F
H
H F. ARCH D8 BRIAN WISE ‘17
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G. ARCH D8 DYLAN CATINO ‘16, MATTHEW IMPERATO ‘16, BRIAN MALLEY ’17
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A
GERMANTOWN ART MUSEUM
Fourth year interior design students were given the task to design an art museum for Germantown, Philadelphia. Given a space that was previously a gymnasium, they were instructed to create an effective and captivating space to showcase the work of three different artists of their choosing. Students drew inspiration from the artwork they selected, and designed ways to display the work that would further enhance it. Program was developed based on the needs of the artist’s work.
A
B A. INTD D7 Amy Hufford ‘16
B. INTD D7 JoLynn Karetny ‘16
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C
C
D
E C. INTD D7 Nicole Criscenzo ‘16
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D. INTD D7 Caitlin Neal ‘16
E. INTD D7 Megan Eyer ‘16
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YOUR PASSION
STUDENT THOUGHTS
I PUT EVERY BIT OF LOVE AND EVERGY INTO MY PROJECTS.
YOU’VE SPOKEN AND WE LIKED IT
IMMORTAL MONUMENTS TO POSTERITY?
IT’S CRUCIAL, BUILDINGS LAST LONGER THAN PEOPLE AND ARE GREAT STORY TELLERS.
MORE PASSION= MORE MOTIVATION= BETTER WORK= BETTER CRIT= HAPPY ME :)
PRODUCTIVITY? “
“
A WEEK IN THE LIFE OF A DESIGN STUDENT 70 60 50 40
CUPS OF COFFEE CONSUMED
30 20 10 0 0
20
40
60
80
100
120
140
HOURS SPENT IN STUDIO
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CARICATURE
HOW ARE WE LIGHTEN PERCEIVED? AND
A WEEK IN THE LIFE OF A DESIGN STUDENT AS THE PRACTIVE OF MAKING BUILDINGS LOOK PRETTY.
PLEASE
WRITE
A
UP!
HAIKU
WAIT, WHAT TIME IS IT? NO, I NEED TO GET THIS DONE. MILKSHAKES? YEAH, I’LL COME
THE WAY THEY SEE TED MOSBY IN THE SHOW “HOW I MET YOUR MOTHER.”
SLEEP IS JUST A MYTH CRIT AND DEATH ARE IMPENDING I NEED MORE MYLAR
DETAIL IS NOT DONE IT IS FOUR IN THE MORNING WHATEVER, F#!@ THIS
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DESIGN. SLEEP. DESIGN IS YOUR CONCEPT GOOD ENOUGH? EAT. SLEEP. CRIT. REPEAT.
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WE ARE MORE THAN JUST A STEREOTYPE
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Stereotype If you’re reading this article, you must be some kind of academic type – an overachieving, nerdy and nothing-better-to-do kind of reader, right? I’m sure you’re not actually a dull reader who has nothing else to do other than read these SPACEWORK articles, but do you see how these generalizations can just be awful? It is not OK to stereotype people
and their profession because we work hard to create our craft.
We are more than just a stereotype. We don’t always wear black. Our circle of friends includes more than other designers. We put our pants on one leg at a time just like everyone else. I can’t speak for everyone, but we’re tired of all the stereotypes that marginalize architects, landscape architects, and interior designers. With all the criticism we get from our design professors, clients, and contractors, at least we still have our craft. Stereotypes need to be broken because we are more than just generalizations.
We are problem solvers. We are community builders. We are mediators. We are craftsmen. We are thinkers. We are makers. The next time you see your architecture or design friend... Caress them, tell them their monochromatic outfit or matching couch pillows are OK because we are more than just a stereotype. Please...I’m begging you... Sincerely, My Ego
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debunk. are there preconceptions?
‘10
LAURA RENNEKAMP Most of what I’ve experienced is “Oh, you’re a woman.” So that’s tough. People don’t always want to take direction from a 5’-2” female. People think I look like a kid and I have to convince them that I’m actually the lead designer on the project. Really that’s it. It’s this gender thing still, and it’s the 21st century! Come on, man!
‘13
ALEXANDRA OVERTON I have certainly encountered my share of architects and engineers who think that an interior designer is only supposed to pick paint colors and furniture. Although I wouldn’t say it has necessarily held me back in my career, it has sometimes discouraged my level of passion and ownership while working on certain projects.
‘09
CRYSTAL RUSSELL Absolutely. As interior designers, we are constantly challenged with the stereotype that we solely decorate. This has been a heated debate since I first started in the industry, and I know it extends far beyond my beginnings in design. As the owner of my company, it’s my job to educate our clients about the extent to which we can advise them on their project.
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‘10
‘08
GRACE HERMAN The biggest way that stereotypes have worked against us as landscape architects is when determining who is the prime consultant on a project. Often, landscape architects aren’t considered for the lead designer position, even if the projects are primarily landscape in nature. I think the attitudes toward leadership are evolving, though.
MATTHEW SANDY It’s really played out with landscape architecture but it’s the truth: the lawn thing annoys me. People think all we do is mow grass. They see landscape designer and all they think is landscapers, that we just prune shrubs and mow grass. It’s a very big misconception. It’s also hard for people to rationalize paying for landscape design.
‘14
T.J. BURGHART Certainly. In my field, I’m the brunt of jokes at times because of how specific I like to be. I’m used to drawing something with a 0.5 pencil, whereas with a carpenter’s pencil, a sixteenth doesn’t matter so much. To me it does. I will fight for that sixteenth. You can tell the difference between someone who’s trained as a designer and someone who’s not.
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CRYSTAL RUSSELL TVL Creative
an interview with
‘09
Interview by Nicole Criscenzo ‘16 NC: What motivated you to start your own business shortly after leaving school? CR: I have wanted to start my own business for as long as I can remember. The catalyst that set my dreams into a realistic process was the death of my father in 2012. I was living back in Philly at the time (away from my family in Denver), and the pain of that loss pushed me to reconsider everything about my life. I had this moment of feeling like I was settling a little bit, perhaps out of fear of making that jump. I moved back to Denver and committed to starting the company immediately. I had no startup funding, no advisors of any sort, and no recent design contacts in Denver. It was a really, really rough start but I absolutely loved the process. NC: What inspired you during the process? CR: Since starting, I’ve found inspiration and encouragement everywhere. From my insanely supportive friends and family to the absolutely massive network of entrepreneurs in Denver, I’ve been lifted up over and over again. NC: You have an undergraduate degree in interior design and a masters in architecture. Do you consider yourself more of one than the other? CR: I’d like to think of myself as a creative, period. I think there’s way too much of an angsty divide between architects and interior designers. I absolutely love the science and psychology of interior design, and that’s what I devote my life to on a daily basis. Does my work creep over into the architectural realm? Always! I think it’s a really beautiful thing to think about form and light like an architect and to translate function and theory like an interior designer. NC: Has having both degrees benefitted your endeavors? CR: I see benefit from both of those degrees, and honestly never saw them as that dissimilar in the first place. I also have an M.F.A. in media design, and I think that I use the skills obtained there on a daily basis as well. Good design really is a product of a creative culmination; as long as the end user is served beautifully and powerfully, what difference does it make what I name myself?
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an interview with
ALEXANDRA OVERTON EwingCole
‘13
Interview by Nicole Criscenzo ‘16 NC: What is something you wish you knew after first graduating? AO: I wish I knew just how long it takes to feel actually comfortable at your job and that it is okay to feel inadequate for a while. There is a huge learning curve between school and working professionally and depending on the type of job you have, it could take larger strides to make up the difference. They say it takes 10,000 hours of practice to become an expert in your field. But I believe that we have the potential to learn something new every day, and that process is more important than just trying to be the expert. NC: How has your position with the IIDA helped your career as an interior designer? AO: Getting involved with the IIDA has helped me profoundly both professionally and personally in way too many ways to mention in a few lines. I have been able to travel and experience a host of design events including NeoCon in Chicago. I have met some of the greatest people in our industry nationally and internationally who have opened my eyes to so many new products and companies. I have also had the pleasure of getting to know some of the most amazingly talented and bold women in the A&D community as personal friends and mentors. NC: Does it help to have this connection with the industry? AO: This will sound sort of cliché, but IIDA changed my life. Being involved with IIDA and serving on the board of directors for the PA/NJ/DE chapter proves just how passionate I am about the profession of interior design and adds value to who I am as a person and as a designer. I have this desire to be known and recognized for the things that I do, and I feel like when people see me they say, “Hey there’s Alex. She’s really involved with IIDA.” That is the biggest compliment and gives me the best feeling.
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we are i :
An exploration of the entirety of Samuel Siegel’s painting progress from his first acrylic portrait up to his sixtieth through a collection of his classmates - the 2016 graduating architecture class.
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Part of my job is to educate people of the scope of a landscape architect’s work. -Hakeem Wilson ‘17
A
BETTER PHILADELPHIA MASTERPLANNING COMPETITION
This annual competition challenges designers to improve a section of Philadelphia at the urban planning scale, while proposing solutions for communities at the human scale. The 2016 competition focuses on revitalizing the Mantua and Belmont neighborhoods and implementing strategies to encourage public health. A
B
C
A. lARCH Evan mcnaught ‘18, pENELOPE SEGURA ‘17, HAKEEM WILSON ‘17, RYAN ZAWOJSKI ’18
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B. lARCH DYLAN BAYER ‘16, JOSEPH CORYELL ‘17, Michael gregori ‘18
C. lARCH ryan harris ‘17, cody Myers ‘16, kathryn miller ‘17, jack wong ‘18
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SYRIAN CULTURAL CENTER
LOFT DISTRICT
A
Syrian families have been forced out of their homes as a result of civil war. Temporary housing of these families is provided in the Loft District in Philadelphia as an attempt to alleviate large refugee populations overseas. This design focuses on change and growth based on the people living inside. This application utilizes pre-fabricated units in addition to a base unit to accommodate refugees. The units are interchangeable, keeping the dynamic relationships and collective nature of the refugees alive.
A a. ARCH D4 benjamin manarski ‘19
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a
ILLUMINATE
AN EXPLORATION OF LIGHT
Using everyday found materials, first year students explore how to create light and shadows through methods of folding, overlapping, and filtering. Investigating which design method makes the most provocative shadows or desired light quality is explored through building a series of study models. The Students are able to test their design to determine what will provide the best results. Whether the final product is illuminated with a bulb, or creates compelling shadows on its own when light is shone on it, these small-scale explorations introduce the importance that manipulating light has on the spaces we create.
B A. ARCH D1 hutten moyer ‘20
C
D B. ARCH D1 Christine Ditaranti ’20
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c. ARCH D1 HUNTER FADDIS ‘19
D. ARCH D1 KYLe tasik ‘20
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C
D
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DESIGN BUILD
Green Alliance: Recreational Vehicle
In the Design Build Studio, students were tasked with identifying, exploring, and researching problems for a given project alongside a client. By collaborating with the Green Alliance, the studio renovated an RV to facilitate sustainable education for students of all ages. This project uses a series of fiber optic lights and undulating walls to exhibit and demonstrate natural processes in the environment. At the end of the semester, the students fabricated their proposals and oversaw the development of the project noting how material properties, craft, and joinery affected the projects.
ARCH D7 remy adams ‘17, raidy alvarez ‘17, Ashley Cummins ‘17, sean fertal ‘17, matthew gilliard ‘17, zilda hijazin ‘17, jason jiang ‘17, jason trutner ‘17, jiatai wu ‘17, bailey miller ‘17 Final Spacework Master.indd 50
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The (Dis)honesty Project: Truth Box By partnering with Yael Melamede, the producer of “(Dis)Honesty: The Truth About Lies,� the students had to design a space that would encourage people to confess a truth about a lie in their life. The project emphasized the importance of natural light, ease of assembly, and transportation. By using a series of rotating sections the box allows multiple users to occupy the box, adjust the privacy, and use their own phone to record their confessions.
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GRASSHOPPER ISN’T JUST AN INSECT
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WHEN ARCHITECTS FILL IN THE A TYPICAL CRIT SCRIPT
In order to optimize the (adj.)
(n.)
of the space, I
manipulated the relationship to create a(n) (n.)
experience. (adj.)
monuments to
(adv.)
(adj.)
and
, the (adj.)
that have arisen from this concept have
(n.)
(v.)
the lines of reality. While the expression is indicative of the (adj.)
approaching , it is not the be all end all. The structural (n.)
when paralleled with the (n.)
of the site
(v.)
(n.)
to
the of architectural language. Basically, this of
(n.)
(v.)
and (v.)
results in a and (adj.)
(n.)
(adj.)
project. Ultimately, this not a reflection of my project but rather its .
(adj.)
(n.)
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Archi-speak to English Enter scene: I’m getting my hair cut, but not with the usual hairdresser. Hairdresser: So whatdya go to school for? Me: Architecture. *Braces self* Hairdresser: Oh, so like, buildings then? Me: Ultimately, we create immortal monuments to posterity. Hairdresser: Oh…yeah I think I’ve heard of him, he does good work. Do you know him? End Scene.
Sure, we took a little liberty with this example, but ask any of the architecture students who have introduced themselves as such, and the conversation will feel frighteningly familiar. Often, the interaction includes a good deal of awkward shuffling, long periods of silence, and visible cringing from both parties. The jargon, computer programs, sustainable approaches, and theories that have arisen from the design professions have distanced us from the general public due to our lack of effective communication. We are forced to use simplified terminology like “traditional” and “open-concept” to describe houses, or to leave parametric modeling out of the conversation altogether. These are safe words that make non-designers feel comfortable.
No mom, Grasshopper* isn’t just an insect. It seems like every time we push innovation and new approaches, we risk recessing behind our dark-rimmed glasses, slipping deeper into our black turtlenecks, and falling into an infinitely complex abyss of design possibilities.
For a field rooted in its obligation to society, this detachment could be our kryptonite. Especially now, emerging from the depths of a crushing recession, designers need a reaffirmation of their significance to the world to better communicate why they matter. It is crucial for us to facilitate an understanding among nonarchitects of the value of architecture and design. We must step outside the bubble of jargon and academic terminology, out of the comfortable sphere of “our own kind.”
We are caught in endless oscillation between moving forward with technology and new ideas and falling back on simplistic terms to communicate our ideas to the general public. We must strike a balance and become approachable, because global progress needs a collective step forward, not a singular one. *While more commonly known as a plant-eating insect, Grasshopper is also a parametric modeling program which allows designers to explore 3D concepts.
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hello, what do you do?
‘08
‘09
JOE DICICCO I am not an architect. When someone asks me what my job or profession is, I usually respond by saying, “I am trying to be an architect.”
CRYSTAL RUSSELL I think designers tend to alter their introduction because of known misunderstandings in society. There’s this inherent fear of being misunderstood as something we aren’t, or rather, a push to be understood as a highly technical field and not purely a decorative one.
‘10
‘13
ALEXANDRA OVERTON I say “I’m an interior designer” and before they can ask me to come over to their house and help them pick throw pillows for their sofa or curtains for the kitchen, I add “COMMERCIAL INTERIOR DESIGNER.”
GRACE HERMAN I’m a registered landscape architect, so I will usually introduce myself as such. Strangers frequently don’t know what that entails, so I’ll often explain some of the projects that I’ve worked on – with the caveat that landscape architecture is a wide and diverse field.
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‘14
T.J. BURGHART I introduce myself with a smile and a handshake. They’re two quality features. I dread the thought of carrying a business card; that’s the black sheep in me.
‘08
MATTHEW SANDY Designer Sales Person. It’s a made-up title. I’m not a registered landscape architect. Throughout college, I found that I was happier with the aspect of creating a design and then selling it to the jurors and professors. I enjoyed that more than making the design itself. My primary function now is creating, selling, and installing projects.
‘10
LAURA RENNEKAMP I usually do start off with “I’m a landscape designer. I design spaces that people like to hang out in.” And they’re like “what?” People don’t know what we mean when we say “space,” and it can mean a lot of things. Space is the way you move around and how that works with the public circulation or public transit. There’s always a pre-existing circulation pattern and you have to figure out how to adjust it. People are going to do what they want to do, so you have to kind of smoosh them in a comfortable way, otherwise they’re just going to do what they want. Sometimes I also tell people landscape design is kind of like architecture, but it’s the space between buildings.
‘14
NATASHA TRICE I always tell people I’m an “architect” just to be very vague and short. Immediately after, their next question is almost always “oh cool, what do you design?” and that’s when I have to get more specific.
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T.J. BURGHART Habitat for Humanity
an interview with
‘14
Interview by Jessica Nonnenman ‘16 JN: What got you involved with Habitat for Humanity? What’s kept you there? What are you passionate about there? TB: When I was a freshman, I got involved with building with Habitat and loved the culture. It’s a storytelling device where you meet different people who you’d otherwise never interact with. It’s an equalizer, and you understand a different perspective. It was a very direct service, and for me, meaningful work comes in a very direct manner. That’s what keeps me there every day, but the people I’m working with also keep me there. At the end of the day, when the homeowner opens the door for the first time, that’s great. But what’s better is when you hear three months down the road that their kid is happy. JN: What are your day-to-day tasks at Habitat? I’m sure it’s quite different from a 9-to-5 desk job. TB: I’m thankful that it’s different from a 9-to-5. Day-to-day it varies, and that’s one of the things I really like about it. Some days, I can be digging a trench – not that glamorous – and other days I’m doing very traditional carpentry. Then there’s the aspect of leading unskilled volunteers in construction. That’s the unspoken caveat to Habitat; we’re not just building but we’re partnering with the community. JN: Are you doing a lot of meetings with clients? TB: Habitat is a very different organization. We call our clients “partner families” because they’re working to earn their home. I work with them about once a week. The families usually come out on weekends to work. Working with them is great because you get to know their background and then see them earn their home. After seeing them work late shifts and then come work with you, it’s pretty awesome watching them open the door at the end of it. My interaction with them is from the standpoint of working together. JN: What’s the most rewarding part of working so closely with the clients? TB: The most rewarding part is you, riding your bike, and seeing Christopher with a trombone because he just joined marching band and he has a safe place to practice his instrument. That’s the coolest part.
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an interview with
SEAN LOCKYER Studio AR&D Architects
‘99
Interview by Theresa Starrs ‘16 TS: What did you think a career in architecture would be like? SL: I remember everyone telling us we weren’t going to make any money, with the exception of one or two people who would do well. I always thought I would be one of those people. I learned architecture takes a long, long time to be successful. Sure, people told me that, but I didn’t believe them. I’ve never been one for patience, but I’ve certainly learned it through this career. TS: What moves got you to this point in your career? SL: I worked for a few other firms for quite a while to try to get a lot of different experiences, but I always had aspirations to have my own firm. ALWAYS. I’ve always wanted to build our own projects, which has become very important to me. TS: Why was building your own projects such an important aspect for you? SL: I’ve always liked construction and building, putting things together, and fabricating. As we design some of these projects, in school it seems like a daunting task to build an actual project, but it slowly became more tangible and achievable. Then, at a certain point, it became necessary to have control over the construction. TS: Did something in your past work experience show you the importance of the involvement in construction? SL: It certainly became apparent in having other people build my projects. They tend to lose a level of detail or quality. TS: What inspires you, fuels your passion, or gets you out of bed in the morning? SL: To me, there is nothing better than seeing something built. It’s a different kind of career in which you get to see the final product; it’s something most other careers never get the opportunity to have. To be able to build something from a blank piece of paper, build a relationship with, and then actually build it a little bit more every day until completion, I think that’s extremely rewarding. Sometimes I even wonder why we get paid for it.
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a g
The camera provides designers with a different method for viewing the world. It is also another form of creative expression, a tool for documenting travels beyond the sketchbook, and a platform for experimenting with forms and patterns.
h
d
i
b c
e
c A. Photo jacquelyn nemitz ‘16
f b. Photo ashley lowe ‘16
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c. Photo jessica nonnenman ‘16
d. Photo dominika dziegiel ‘16
j e. Photo feras alsaggaf ‘16
f. Photo michael strollo ‘16
g. Photo elizabeth ciccone ‘16
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b m
i
c
e
l f. i
k
k
a
h. Photo i. Photo j. Photo k. Photo l. Photo m. Photo iryna gulin ‘17, jason jiang ’17 maxwell yousey’16 stephanie dudak ‘17 stephanie matzek’16 mara siegel ‘19 alexandra perrine ‘16
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a
B A. ARCH D8 STEPHANIE DUDAK ‘17, MINA BELLARE ‘17
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C B. ARCH D8 JASON JIANG ‘17, JENNIFER MCELROY ‘17, KATELYNN PARENT ‘17
C. ARCH D8 JOSEPH KASZTELAN ‘17, TSAHAI PETTIFORD ‘17, TEVIN WILLIAMS ‘17
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“Form directly corresponds to the programmatic typology of the environment.” -Raidy Alvarez ‘17
D
E
COMPREHENSIVE STUDIO
Each project in this studio was based in a particular location in order to facilitate the development of specific bioclimatic strategies that help drive building design. These strategies work with the development of structure, skin, and mechanical systems to create a full comprehensive project. D
F D. ARCH D8 RAIDY ALVAREZ ‘17
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E. ARCH D8 DYLAN CATINO ’16, MATTHEW IMPERATO ‘16, BRIAN MALLEY ‘17
F. ARCH D8 ABBIE GALL ‘17, CLARISSA KELSEY ‘16
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a
TIMBER IN THE CITY
Hosted by the the BSLC, ACSA, and SCE, the competition requires the design of a mid-rise complex that contains a NYC outpost of the Andy Warhol Museum, affordable housing, and an expanded home for the Essex Street Market. It aims to encourage students to implement sustainable building strategies, use renewable resources, and innovatively utilize wood materials to create a successful live-work environment.
C
C
a. arch d6 Beckwith ‘18, Dimare ‘18, Hocker ‘17, Hreniuk ‘18, Munns ‘17
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B
b. ARCH D6 Donato ‘18, Humber ‘17, McVicar ‘17, Murnin ‘18, Sroka ‘18
c. ARCH D6 McInnis ‘18, Nelson ‘17, penzel ‘18, Ramirez ‘18, Sun ‘17
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D
D
E D. ARCH D6 Bailey ‘17, Jones ‘18, Hoehne ‘17, Lombardo ‘18, Nadeau ‘18
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E. ARCH D6 Bachelder’18 , Cinicola ‘17, Matteis ‘18, Risher ‘17, Wiatrolik ‘18
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A
CAPSTONE DESIGN PROCESS WORK
The capstone design studio is the culmination of the interior design program, and is where graduating students are given the opportunity to explore the design of a space of their choosing. These spaces range from bars and arcades to casinos and market places. Students develop their own client and program, and select a building they wish to use as the shell of their space. This is a semester-long project, and the pieces shown are process renderings.
B
“Interior design is about breaking the idea of the box and making ordinary things unique. It is not limited to the interior of a room or building, it is about pushing the boundaries.” -Stephanie Matzek ‘16
C A. INTD D8 Megan Eyer ‘16
B. INTD D8 Nancie Giardina ‘16
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C. INTD D8 Stephanie Matzek ‘16
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F
BOOKSTORE & AD AGENCY THIRD YEAR INTERIOR DESIGN STUDIO
The third year interior design studio acts as an introduction to retail and workplace design. The students are faced with the challenge of designing a bookstore located in an old shop in Manayunk, Philadelphia, and a sustainable ad agency in Philadelphia. Both projects push students to begin exploring how sustainable components can be factored into a design, and have programs that are more up to the student’s interpretation than previously.
F
E
D
E D. INTD D6 Shamus McVicar ‘17
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E. INTD D6 Christine Migliore ‘17
F. INTD D5 Rachel Thode ‘17
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WE WILL NOT EXPIRE
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The Old Timer
1960s
The Art of the Hand
1980s
Midlife Designer
From Pencils to Pixels
The Millenial
Learning to Adapt
2000s
2016s
Young Professional The Synthesizers
The Survivalist Reshaping the Environment
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3000s +
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Education What happens to your design education after you’ve made the transition to the working world? Was there any value in taking all those art history classes? How are you going to stay up-to-date on the latest software? Will the worth of your education decrease with the introduction of a new batch of graduates each spring? Your education never ends. Your skills will never expire. Each generation of designers remains relevant, never becoming obsolete. Our education allows us to theorize, explore, and push boundaries. While technical drawing, codes, and documentation are invaluable, theory and creativity cannot be pushed aside. The days of the Renaissance-era apprenticeship are over, but we still crave mentorship. Just because we crank out 12+ hour days over our computers at school doesn’t mean we don’t still sketch, draw, and crave paper and pen. Our discipline mixes the technical with the arts. We strive to learn and grow throughout our careers, and that desire does not end when we reach licensure, become a partner, or achieve any other career milestone. Our career starts with education and continues with professional growth. We are the synthesizers, born in a time where technology has changed the world. We are still figuring out how to balance looking at the past with designing for the future. We are generalists who are armed with the skill sets to bring a wide range of knowledge to our fingertips. Our design education makes us relevant. We are taught an array of programs and skills, exposed to different styles, so we can forge our own path, not be put on an assembly line that is pumping out architects. Let’s not forget to continue learning after we graduate. Designers continually learn and apply new knowledge to solve problems. With our education, we will not expire.
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it’s new.
how has your perception changed?
‘04
JONATHAN BYKOWSKI I think the profession is much more heroic than I thought it was for much less heroic reasons. In school, I thought it was all about building the thing; it was all about the object. The more I practice, I’m not so sure that the architecture is the end product. Architects should always be humble enough to go back and do a post-occupancy evaluation because at the end of the day, we are not creating monuments.
‘08
‘10
LAURA RENNEKAMP It definitely got more hands-on. It got broader, too. I think when I went into landscape architecture, I thought it was just about designing big corporate spaces. It was viable and worthwhile, but I’d met this community of artists that I’m working with now, and I wanted to know how I could give back to them. When you get the local community to help work on your projects, it gives them ownership. It means more to them and it means more to the whole city.
JOE DICICCO I think many people think architecture is all about designing; that is really only 50 percent of the role, maybe even less. I did not realize how hard it can be to survive in this field, and I think graduating in ‘08 helped quickly shape my viewpoint. You have to diversify. You have to be adaptable and be willing to adjust and change to and for the contributing factors.
‘14
T.J. BURGHART My perception is still young. My lens of the profession is so different because I haven’t been involved in the formal industry. I’m finding opportunities where the client and the designer and the builder all coalesce. Granted, my lens is different, but I’m not in the microscope of architecture, I have a more broad vision.
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‘13
ALEXANDRA OVERTON I wasn’t able to truly grasp just how broad and interdisciplinary our industry is until I had been working professionally for a bit. You don’t realize all of the disciplines involved in creating and constructing a good-looking, functional, and legitimately sound building. We are a small community in some ways, but the possibilities of what we can create are amazingly infinite.
‘10
‘14
NATASHA TRICE I think in most schools, you don’t realize how much of an impact a project can have. Although I was very fortunate to experience this at PhilaU, not many do. I came into the profession knowing that there is a form of architecture and urbanism that can have an impact on important issues.
GRACE HERMAN I’m seeing that we are generalists that draw from experts and interpret. There’s so much knowledge out there that people dedicate their lives to gathering. It’s important to develop the ability to ask the right questions in order to gather relevant information. Then it’s a matter of how you take that information and interpret it through space.
‘08
MATTHEW SANDY The professors would always say how it’s about the process, not the finished product. That didn’t make sense to me until I got out of school. Design is such a small part that you have to do as a professional; it is more about the process of getting from your concept to your finished product than it is getting that finished project perfect. The projects define you; the way you deal with customers, clients, and co-workers define you. It’s not the stamp that defines you. But it’s still important to get it.
‘04
THOMAS ACCIAVATTI When I was in school, I didn’t realize we were never really taught about how detailed things are, how much research you have to do in terms of materials, building systems, everything that is involved in the time process, and what you are responsible for as designers.
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‘14
a moment with NATASHA TRICE OMA - Office for Metropolitan Architecture
Interview by Jacquelyn Nemitz ‘16 JN: I know you traveled with Professor Chris Harnish and a group of students to Alexandra Township in South Africa before working on a studio project focused on the area. What was the process like to design for a foreign context? NT: Before traveling with Professor Harnish, I had never been to Africa, and I have been dying to go back ever since. The process was definitely a challenge because we couldn’t contact the people we were trying to design for. You rely more on moments, memories, and your professor to answer the difficult questions that come up in the design process. Although it was difficult, I think it was a very important revelation in my life/career and if I had not gone, I would not be where I am today.
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JN: Could you tell me a bit about your transition from PhilaU to Columbia University to Rem Koolhaas’s firm, OMA? NT: I was very unsure about what made architecture my passion at first, but the light bulb finally went off when I went with Professor Harnish to South Africa. Instantly, my passion broadened from architecture to urbanism and how to help people through the built environment. After that, I knew I needed to get more education to expand my knowledge, develop the tools, and be able to adequately help those in need. During my time at Columbia, I discovered the importance of researching global, regional, and local systems and how to use these systems to solve certain issues. I have discovered, in being part of the working world now, that this is a very utopian thought…stay in school as long as you can! Working at OMA has been an amazing job experience and very different from my academic career. I have learned so much about the profession and that is exactly why I applied there. And their amazing projects of course. My next journey is to explore more of a humanitarian role on a global scale. JN: What types of projects have you worked on while at OMA? NT: I have been working on a project in Japan and in Washington, D.C. I’m not allowed to give out too much information; it’s not public yet. JN: Could you tell me a bit about your passion for photography? NT: I’ve always enjoyed photography, but I think my passion started when I began traveling. I love finding moments, while I’m emerged in a different country, that express how unique and expressive culture is. I really enjoy experiencing other cultures.
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FASHION DESIGN BY EMMANUEL ESHUN TEXTILE EXPLORATIONS BY FERAS ALSAGGAF, JAKE BROSIUS, CHARLOTTE CLAIRE HOGENSCHURZ, JAVIER VILLARROEL, AND ZACHARY WILMARTH
The world of textiles and fashion design explores texture, material, and structure on a rudimentary level to meet the evolving needs of the human body. These explorations can then be applied to the ways material and structure are used in buildings as well as a way to understand human comfort.
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a a. Fashion & Textile Studio Emmanuel Eshun ‘16 Final Spacework Master.indd 76
B. Fashion & Textile Studio Jake brosius ‘17, charlotte claire hogenschurz ‘16, javier villarroel ‘16, zachary wilmarth ‘16 4/25/16 3:45 PM
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C C. Fashion & Textile Studio feras alsaggaf ‘16 Final Spacework Master.indd 77
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“My education holds tremendous value, more than I probably realize at this time.” -Evan McNaught ‘18 B
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B a. lARCH D5 kathryn miller ‘17
b. lARCH D3 evan mcnaught ‘18
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C. lARCH D5 JOSEPH CORYELL ‘17
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PIER 34 + 35
WATERFRONT MASTERPLANNING
After a collapse in 2000, this pair of abandoned piers have fallen into disrepair and are in need of development as the rest of the Delaware waterfront is revitalized. These schemes mediate the existing foundations of the piers, the constraints of the river, and the proposed condition of the high rise to produce sculptural and ecological outdoor spaces. b
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DOE RACE TO ZERO
FIRST PLACE: ATTACHED URBAN HOUSING
This project worked in conjunction with organizations like Habitat for Humanity to create a sustainable housing option that was more affordable than the current options. Additionally, this project sought to maximize natural daylighting within an urban environment to reduce overall energy consumption.
ARCH D10 jessica Livezey ‘16 , megan ullery ‘16, tyler scIRE ‘16
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SECOND PLACE: SINGLE FAMILY SUBURBAN
With an emphasis on prefabrication, this project seeks to foster a sense of community while maintaining a sustainable response. Prefabrication allows for minimal waste, in comparison to regular construction, as well as immense precision, which brings the project closer to its zero energy goal.
ARCH D10 shawn hale ‘16, john claudio ‘16, john matera ‘16, ronald alley ‘16
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MULTI-FAMILY AND DETACHED URBAN FINALISTS The multi-family urban housing project
developed an affordable and sustainable option that emphasized communal spaces. The single-family detached housing option developed around a centralized plumbing core that resulted in a more efficient floor plan.
b. A. ARCH D10 Kalia choi ‘16, alexander schleicher ‘16, max yousey ‘16, eric munro ‘16 Final Spacework Master.indd 82
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“Our program allows us to not only think of the building theoretically, but also build it. It’s a real world application aside from the conceptual which I like.” -Clara Lattimore ‘17
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STUDY ABROAD: ROME
To relive their former glory, Rome has been rumored to put in a bid for the 2024 Olympic Games. Utilizing the Foro Italico, the old Olympic park in the north of Rome, students were challenged with designing a park that would be used to host the games as well as be adapted for alternative use after the games. Together the class created a master plan to include specific elements, such as a light rail system and river walk to activate the area. Based on the master plan, the individual students developed building programs of their choosing for the selected site. b
c A. STUDY ABROAD JENNIFER MCELROY ‘17
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B. STUDY ABROAD BRIAN WISE ‘17
C. STUDY ABROAD CLARA LATTIMORE ‘17
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A A. INTD D6 Angel Troiano ‘16
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IIDA STUDENT DESIGN COMPETITION 1ST & 2ND PLACE WINNERS
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Two interior design seniors won the top two awards in this year’s IIDA PA/NJ/DE Student Design Competition. This competition was open to all interior design students in the tri-state area. Students submitted a project they had previously completed in their design studio within the last year, and were judged based on presentation, concept, space planning, and overall design. Angel Troiano went home with first prize for her design of an advertising agency titled Matrix. Amy Leigh Hufford received second place for her design of a museum titled The Neu Bohemian. Nicole Criscenzo was awarded honorable mention for her design of a Germantown Art Museum.
B B. INTD D7 Amy Leigh Hufford ‘16
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WE PLACE OURSELVES IN YOUR SHOES EACH DAY
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The Human Experience Designers create a balance between the mundane and the divine. A designer’s life is spent tiptoeing the lines of chaos and optimism. As passionate people, designers are wired to think of the world in the positive realm of hopefulness. At the same time, designers are strategists that work toward craftsmanship and practicality. Our work doesn’t stop at building infrastructure and setting up walls. A designer’s work is a playful balance between poetry and necessity. It is poetry because it manifests itself as your reality. You walk through it and experience a subconscious message that can suggest for you to be happy or sad. It can suggest that you keep moving, or it could encourage you to stop and contemplate.
Ultimately, the built environment must cater to the human experience.
Every detail from the feel of a door pull to the science behind the world’s tallest buildings responds to the needs of its users, be that a single person or hundreds at once. Although you may never meet the people who shape your daily experiences, designers were considering your needs when they determined how closely they could nestle the tables in your favorite morning cafe, when they selected where to orient your desk in relation to the windows in your office, and when they decided where to place your bedroom so you could feel safe and comfortable at the end of the day.
We have built your favorite cities and preserved your favorite landmarks. We rely on generations of knowledge, research, and expertise to create the foundations upon which you build your life.
While you might not think about it, we place ourselves in your shoes each day. We look at the world from your perspective to ensure that the lines we put on paper allow you to achieve more every day. That experience sets an emotional ambiance by which you respond to the world around you. Architecture does not stop at technology, nor is it limited to such a poetic experience. Instead, it is the interaction of those two things. Designers are both thinkers and dreamers. But, most importantly, we are problem solvers. We succeed when your everyday needs are cared for, be they functional or aesthetic.
You keep us relevant.
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do you play a
role in the future?
‘10
LAURA RENNEKAMP I’m doing freelance work right now and working with a community to design an art festival. I can use a lot of the skills that I learned as a landscape designer to help this community of artists and people who just want to get together and create things. Designers, I think, are the glue in between. They can put out all of the tentacles and pull people together and help them work together.
‘08
‘14
T.J. BURGHART We need to make beautiful things. I mean that in many perspectives, and it goes back to interaction. Designers have to be present and experience things to add value and shape the future. Just make beautiful things.
JOE DICICCO Architects and designers are problem solvers, which puts us at the forefront for shaping our future. If we can set our egos aside, I think architects can start working together to legitimately try and solve these problems or propose solutions that might attempt to solve problems.
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‘14
NATASHA TRICE Architecture is such a global profession! We learn so much through what previous designers have done, and we set the grounds for what designers will do in the future. I think designers need to address the public in their designs and make a social impact in order to be relevant.
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GRACE HERMAN As the topic of sustainability has become more prevalent in society, I think people are becoming more interested in how they can contribute. I think designers are in the position to not only shape the physical world but also to engage the public and get them interested in doing the environmentally responsible thing.
MATTHEW SANDY Designers in general have the ability to create spaces that people that don’t have the knowledge of design can comprehend without seeing it. We have the ability to see things in plan, in drawings, and in our minds that doesn’t necessarily exist, and a lot of people don’t have that ability.
‘09
CRYSTAL RUSSELL I think the most critical thing that designers can do now is push the services provided by interior designers out of a realm of exclusivity. Historically, interior design is a luxury. If we start to look at and teach design as a way to improve cognitive functioning, spatial presence, and overall health, then we can start to think of it as a necessity.
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‘04
in the shop with THOMAS ACCIAVATTI b Fabrication
Interview by Abbie Gall ‘17 AG: How does b Fabrication operate day-to-day? TA: I am the owner, but it is more of an inclusive company. Everybody is responsible for everything. We are not just coming in and punching the clock; we all have in the back of our minds this idea that as long as we work together, the project will get done. There is no real division of formal job titles, you just come in and work toward the common goal. There’s no project manager or shop guy or machine operator or writer. Everybody is able to do a little of everything.
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AG: You’re not working in the environment of an architectural firm, so how is design integrated into the fabrication process? TA: Design is always part of what we do on the fabrication side. It is ingrained in how we approach each project. We get these proposals to outfit a lobby space with something and nine times out of ten the client doesn’t know exactly what they want or what the details are. Because we are trained as architects, we are able to break things apart to propose different design ideas and really help them understand how it is going to be made, what issues we might encounter, and how to save money. AG: What sparked your interest in fabrication design? TA: We were able to design a project for an art gallery in school and then build it ourselves in order to get the project through to approval. Seeing that, not just directly on paper, but understanding the model isn’t the end of it. It needs to be understood in terms of how it’s going to be fabricated in the shop, how it’s going to go to site, how it’s going to get installed, and how it’s going to last over time. Coming up with all these little details you might not think about as a designer gets you ingrained in the fabrication process and thinking of problems before they occur. You’re really hyper-focused on so many of these little details that are just really interesting to me. AG: How did your education influence your passion for fabrication design? TA: It influenced it a lot because I knew nothing about architecture when I signed up for architecture school. I had a drawing class in high school, and we had a perspective class, and I thought I’d make a lot of money drawing some cool buildings. I was so wrong, but the school itself tapped into a greater side that I didn’t really know I had. I’m really grateful because it introduced me to a lot of people in the area who are doing really amazing work, which is how I ended up here, working for one of the teachers at the time, John Shields, who runs and owns Point B design. I interned for him and ended up becoming partners with him, and now own part of the fabrication side of the business. AG: How do you continue your education to keep up with continually changing programs and fabrication techniques? TA: Some of the guys here are still taking classes on weekends, but most of the stuff we are trying to do or learn is available online. If we are trying to solve a problem in Grasshopper to get a certain type of fold or roll on a surface that we don’t know how to do, we can hop on an online forum and talk to people and almost teach ourselves. We use the online community to get the information. It’s a different type of education and it allows us to teach ourselves these processes.
Point B Design
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A
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LAND ART GENERATOR
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ROBOTICS THESIS STUDIO
The studio used the 2016 Land Art Generator Initiative design competition located in Santa Monica, California, as a vehicle to experiment and study the implications and complexity of integrating clean energy and water infrastructure into urban habitats. The problem requires interdisciplinary approaches involving architecture, engineering, and science, which enhance the value of our cultural landscapes through combining public art with novel energy and water infrastructure.
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A A. ARCH D10 EMMANUEL ESHUN ‘16, ETHAN STANLEY ‘16, VERONICA MAGNER ‘16
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BETTER PHILADELPHIA CHALLENGE URBAN DESIGN THESIS STUDIO
The studio participated in the Better Philadelphia Challenge competition, which focused on the Mantua/Belmont neighborhoods, during the first half of the course. The Mantua/ Belmont area was chosen by President Obama as the first of five “Promise Zones” for economic development. Although located next to Center City, the area displays a total lack of urban strategy, a fact exemplified by the extent of empty lots and the number of vacant buildings. A crucial aspect will to be to consider these factors from a theoretical and practical point of view.
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D C. ARCH D9 ALLISON KLINGLER ‘16, COLLEEN KORP ‘16, VERONICA MAGNER ‘16
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D. ARCH D9 DOMINIQUE SEGURA ‘16, MAXWELL YOUSEY ‘16, MEGHAN FORD ‘16 4/25/16 3:46 PM
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THE GLOBAL STUDIO THE LIMBE MEDICAL CLINIC
The design challenge of the Limbe Medical Clinic comes when minds from the Global North design for the Global South. The medical clinic is for-profit, serving the area of Blantyre, Malawi. The project included designing for both the micro and macro scale from a large masterplan for the clinic, to understanding the small ergonomic details of a medical space that impact the patients. Regardless of variations, each design consisted of a series of spaces that were designed with healing in mind.
Ës ĶǼÌ ǢsNjɚÞOsǣ b
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C A. ARCH D9 Alexander Klohr
B. ARCH D9 jon murphy
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C. ARCH D9 Jax nemitz
d. ARCH D9 savanah krause
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INVESTIGATIVE METHODS
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INVESTIGATIVE METHODS
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E E. ARCH D8 Lob Vargas ‘16
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F. ARCH D8 Eva Gjoncari ‘16
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B A. ARCH D5 Kelly Hayes ‘18
C b. ARCH D5 Daniel Bachelder ‘18
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c. ARCH D5 Micheal Penzel ‘18
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URBAN EQUINOX LIGHT INSTALLATION
In a little over a week, students participated in a lighting installation charrette and competition. The Urban Equinox project was proposed for 1527 Walnut Street in Philadelphia and intended to illuminate an existing and fairly dark alleyway, bringing new life to the space. Each student’s proposal incorporated an interaction between the light and the user, making each design more playful.
D d. ARCH D5 Ryan Allsop ‘18
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VERTICAL EXPERIENCE A CITY WITHIN A CITY
As the result of a semester-long exploration of the site at 1527 Walnut Street in Philadelphia, students integrated their data collection and research into tower designs. Through extensive analysis of the site, students proposed programmatic elements that catered to a specific niche in Center City, Philadelphia. In addition, each design integrated unique lighting strategies to create interactive spaces and provide moments for social interactions that strengthen the community.
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B a. ARCH D5 TORI FEBRIZIO ‘18
B. ARCH D5 LAUREN jESTER ‘18
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E D. ARCH D5 mATTHEW zEPP ‘18
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We are Spaceworkers. We are photographers. We are sailors. We are gamers. We are furniture makers. We are musicians. We are animal lovers. We are bikers. We are adventurers.
We immerse ourselves into all of our passions so we can mold ourselves into better designers.
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Philadelphia College of Textiles and Science began expanding its design programs based on the technical foundations within those fields. This led the college to introduce the Bachelor of Architecture in 1991 under the leadership of program director and Founding Dean, Gary Crowell, AIA, NCARB. The School of Architecture was elevated to the College of Architecture and the Built Environment in 2011 and is now headed by Executive Dean Barbara Klinkhammer, Dipl.-Ing.
A FLASHBACK WITH GARY CROWELL Dean and Professor Emeritus
The following is a brief narrative history on the development of the School of Architecture and Design (now College of Architecture and the Built Environment) at Philadelphia University. I was hired as the Founding Director for the new architecture program in the fall of 1991. The university was called “Philadelphia College of Textiles and Science” at that time, and it was recognized as being the oldest textile school in the country. The new architecture program was part of the Textile School, and my office and the studios were in the lower level of the Ravenhill Dining Hall. Pastore Library, now the A&D Center, was in the process of being renovated for architecture and interior design. The school developed rapidly, and by the 2003-04 school year a variety of professional degree programs in architecture, landscape architecture, interior design, graphic design, industrial design, and digital design were offered. All of these programs still exist in one form or other in the university’s colleges. By 2007, the renamed School of Architecture offered accredited bachelor degrees in architecture, architectural studies, interior design, landscape architecture, and the newly introduced M.S. in Sustainable Design program. These programs are now an integral part of the College of Architecture and the Built Environment. One event stands out as setting a high standard for our design programs. Early in the development of the school, adjunct faculty Simon Koumjian’s upper level architecture studio (Jeremy Avellino, Amy Chorey, Cindy Cizmarik, Christopher Golin, and Richard Sanford) won first prize in the 1996 Architecture School of the Future International Student Competition sponsored by the Netherlands Architecture Institute. There were over 400 entries from all over the world. Winning the competition brought instant and international recognition to our young architecture program and the university. Winning the design competition in 1996 started a succession of competition-winning student designs. Many of the full-time and adjunct faculty who helped build the college and its programs are still at the university. They deserve major credit for the successes we have enjoyed. What we have achieved was only possible with the support and hard work of an extremely dedicated faculty, talented student body, and supportive university administration. We were fortunate—it all came together, just like good design.
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state of the union 105 guys, hand me that piece, i’ll spray paint it right here.
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CREDITS
SPACEWORK
SPACEWORK is a publication produced by the College of Architecture and the Built Environment, Philadelphia University. www.Philau.edu/architectureandthebuiltenvironment
PUBLICATION EDITOR
ISBN-978-0-9903292-2-0 ©2016 by CABE PRESS College of Architecture and the Built Environment, Philadelphia University, 4201 Henry Avenue, Philadelphia University, PA, 19144. All rights reserved. No part of this publication may be reproduced in any form without prior permission of CABE PRESS. All images of student projects appear courtesy of students enrolled in the College of Architecture and the Built Environment, Philadelphia University, copyright, CABE PRESS, Philadelphia University, unless otherwise noted. Every effort has been made to trace copyright holders where applicable, but if any have been inadvertently overlooked, the necessary arrangements will be made at the first opportunity.
PRINTING
Jessica Nonnenman
DESIGNERS
Abbie Gall Jason Jiang Alexander Klohr
SECTION EDITORS Nicole Criscenzo Stephanie Dudak Shawn Hale Zilda Hiajzin Veronica Magner Jacquelyn Nemitz Theresa Starrs
FACULTY EDITOR
Printed by Paradigm Printing, Southampton, Pennsylvania, USA
Donald Dunham
ACKNOWLEDGMENTS
CONSULTING EDITOR
The editorial staff would like to thank Executive Dean Barbara Klinkhammer and Architecture Director James Doerfler for their enthusiastic support for a student initiated and produced annual College of Architecture and the Built Environment publication. The publication would not have been possible without the additional support of the C_ABE Advancement Council. Lastly, we would like to specially thank Professor Donald Dunham for his continual guidance.
CABE PRESS
Amanda Gibney Weko
AGW Communications C_ABE Advancement Council member
EXECUTIVE DEAN’S OFFICE Terry Ryan Lynda Irwin Sarah Miller
Barbara Klinkhammer, Dipl.-Ing. Executive Dean and Professor James Doerfler, AIA Professor of Architecture Director of Architecture Programs Ground Control Donald Dunham, AIA Assistant Professor, Architecture Associate Director, Master of Architecture Programs Major Tom
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