BARNworks 15/16 1 by Christie McNeal

15 16

BARNWORKS

9-780692-945148 ISBN 978-0-692-94514-8

15 School of Architecture Mississippi State University 16

BARNWORKS

Faculty Advisors Francesca Hankins George Martin Editor-in-Chief Ebony S. Batchelor Design Editor Kelli Weiland Leah Welborn Copy Editor Laura Mitchell Editorial Staff Lee Bryant Shelby Christian Kimball Hansard Aaliyah Hawkins Zachary Henry Tahir Khan Baron Necaise Prem Patel Max Willson Photographer Kamau Bostic Advisor Michael Berk Typeset in Helvetica Printed and bound in China through Asia Pacific Offset. ÂŠ2018 School of Architecture Mississippi State University College of Architecture, Art, + Design All rights reserved. ISBN-978-0-692-94514-8 All artifacts and drawings are courtesy of the contributors and students unless otherwise noted. All efforts have been made to obtain lawful permission to reprint copyright images. No part of this book may be used or reproduced in any manner without written permission from the publisher, except for copying permitted by sections 107 and 108 of the U.S. Copyright Law and except for reviewers for the public press. Every effort has been made to see that no inaccurate or misleading data, opinions, or statements appear in this journal. The data and opinions appearing in the articles herein are the responsibility of the contributors concerned.

School of Architecture Mississippi State University College of Architecture, Art, + Design

899 Collegeview Street 240 Giles Hall Mississippi State, MS, 39762 www.caad.msstate.edu $15.00 ISBN 978-0-692-94514-8

51500>

9 780692 945148

Welcome to the 7th edition of BARNWORKS, a selected monograph of works produced, designed, and organized by students . . . annually documenting the 24/7 studio-activities at the Mississippi State University School of Architecture (S|ARC) flagship program. The Giles Hall studio building (affectionately known as the Barn) has always been an intense, messy, and high energy-level environment. Originally purposed for judging animals (in the 1920s) and repairing vehicles for Agricultural Extension Services (in the 1940s, 50s, and 60s) -- the Barn now serves as an amazing light-filled, brick armature for designing and making ‘stuff’ in the 21st century . . . where the traditions of care, craft, intensity, and authenticity are its hallmarks. Even though we were the first architecture program in the country to require student-owned laptops in the studio (1992 – Digital Nomads), S|ARC continues to consciously resist the abandonment of analog media; we are vitally committed to the physical and ecological realities of making. Often, a laptop can be seen alongside a circular saw (in the shop) or a charcoal sketch (on a drawing board), emphasizing the School’s understanding and commitment to the process and the duality of making artifacts in a post digital world. The School of Architecture is a 5-year Bachelor of Architecture (B.Arch) degree-granting program. We offer unique opportunities for innovative teaching, creative research, and substantive interdisciplinary collaboration; including the pioneering Collaborative Studios together with the Building Construction Science program in the College. We pursue these commitments with a diverse faculty, all of who teach both in the design studios and in the area of their specialization. We are committed to the challenges of ecological and cultural sustainability, the craft of making and building, collaborative practice, and integrated project delivery. All of these concerns are intertwined in our research and teaching, while also addressing issues of Social Justice and Community Design.

Introduction BARNWORKS

15|16

The School of Architecture was recently named a TOP 25 Architecture Program in North America by Design Intelligence, and was re-accredited by NAAB for a full eight-year period beginning in Fall 2016. Our research centers – including the award-winning Carl Small Town Center and the Gulf Coast Community Design Studio (which was recently named one of six AIA National Resilience Studios in the country) – provide opportunities for our faculty and students to participate in funded research throughout the region, country, and in the design studios. As a land grant institution, S|ARC’s primary mission remains focused on: teaching + service: which is integrally informed by research. In-turn, this triad directly translates into outreach to the state, the region, and the world. We provide an education that prepares students to think synthetically, act fearlessly, and understand practice as research . . . and, upon graduation, make a regenerative contribution to the world. The seriousness demonstrated by our students is unwavering; their honesty, their ruggedness, and inquisitive nature is relentless . . . it is this same work ethic and genuine craft often associated with the rural outlands of our region. Mississippi State University is a Carnegie Tier One (Very High Research Activity) Institution; it also holds the additional dual designation that few others have accomplished: Carnegie Community Engagement Institution. In closing, I would like to personally thank the heroic efforts of the student editor (Ebony Batchelor), her student assistants, and the faculty advisors (Professors Francie Hankins and George Martin). A very special thanks also goes to the S|ARC Advisory Board for providing their generous funding and support. Like the previous editions, this edition of BARNWORKS 15|16 is an abridged collection (an annual candid snap-shot) . . . presented again, without theme and (hopefully) without pretense. Enjoy! Michael A. Berk AIA | F.L. Crane Professor Director School of Architecture

The brick barn studio is the iconic studio-space (and place) of our students, alums, and visitors. It is a fitting prefix to the studentsâ&#x20AC;&#x2122; work. To our school, the barn represents the joy, the energy, and the intensity of the study of architecture in Mississippi. A place where making had its academic roots before it permeated the academy. A place where pioneering digital nomads transformed the analog studio. It is work-place, village, and home filled with natural light during the day, emitting an electric glow at night. A beacon on campus. 5

Contents BARNWORKS

15|16

First Year Fall Semester

120

Active Building Systems

First Year Spring Semester

122

Structures I & II

Second Year Fall Semester

124

Materials

Second Year Spring Semester

132

Didactic Sketching

Third Year Fall Semester

134

Geography and Design

Third Year Spring Semester

140

Trashion Show

Fourth Year Fall Semester

144

Harrison Lecture Series

Fourth Year Spring Semester

148

Architectural Student Trip

Fifth Year Fall Semester

152

School of Architecture Appendix

102

Fifth Year Spring Semester

First Year Fall Semester Composition Around a Void Instructors: Andreea Mihalache Andrew Tripp (coordinator) Jeffery Roberson

Davis Byars

Composition Around A Void 30â&#x20AC;? x 30â&#x20AC;? Charcoal on Drawing Paper

The following weeks of the semester were dedicated to a two-phase three-dimensional design project based a kit-of-parts. The first kit-of-parts was simply four flat planes and six linear column-like elements made of foam core. The second kit-of-parts was three flat planes, four linear elements, and one curved vault-like element, initially made of foam core but later transformed into wood. Initially the dimensions for all

of the elements were standardized, but as students gained familiarity with orthometric drawing techniques, they were asked to adjust the proportions of their elements and to embed the ideas of their rhythmic fields into the project; in other words, students used architectural drawings to critique and adjust the spatial relationships of the elements. Their final projects are built out of wood based on a new set of drawings.

9 (Initially architectural drawing was used to describe the three-dimensional work, but in the final phases, it was used to analyze and generate the final three-dimensional proposal.) Finally, it is typical in the final stages of this assignment that the students must confront some “transformation” phase that calls into

Matthew Murphey

Composition around a void 30” x 30” Charcoal on Drawing Paper

question their thoughts about the project so far. This semester, the transformation was identified simply as making the project out of wood; the transformation was aligned with the idea of “material substitution.” To highlight and “problematize” this transformation, students were required to work with wood glue that has been died black with ink.

Throughout this project, students were compelled to consider the same basic architectural concepts of interval, ratio, hierarchy, rhythm, balance, and contrast in three dimensions, and to consider the relationship of theses concepts between their drawings and models.

Matthew Hudgins David Wikoff

Composition Around a Void 5.25” x 5.25” x 3/16” White Foamcore

Matthew Hudgins David Wikoff

Composition Around a Void 5.25” x 5.25” x 3/16” Wooden Model

Matthew Hudgins Matthew Murphy Satchel Sterling

Composition Around A Void 30” x 30” Charcoal on Drawing Paper

Davis Byars

Composition Around A Void Orthometric Drawing 30” x 30” Charcoal on Drawing Paper

15 15 Danielle Mason Matthew Hudgins Matthew Hudgins Davis Byars Davis Byars Matthew Murphy Davis Byars David Wikoff Davis Byars Matthew Hudgins Davis Byars Davis Byars Composition Around A Void

First Year Spring Semester Formal Analysis of Modern Painting Instructors: Andreea Mihalache Andrew Tripp (coordinator) Jeffery Roberson

Design 1B Spring 2016 explored the relationship between architecture and modern painting. “Transparency: Literal and Phenomenal,” the seminal essay by Colin Rowe and Robert Slutzky, provided the conceptual framework for the studio. Throughout the semester students analyzed select modern paintings. These analyses were translated into three-dimensional

Austin Keaton Chip board model

sculptural forms, which became the basis for further analyses and the production of paintings, which then became the basis for additional analyses and sculptural forms—stimulating feedback loop between analysis and synthesis. This explored the compositional principles of modern painting through the conceptual framework of transparency.

17 The first project of the semester is to procure a high-quality image of a painting acquired from a library book or a reputable gallery/museum. Students must provide 3 drawings that explore rhythm and the geometrical basis of the painting, such as identification of squares, circles, equilateral triangles, root-two squares, golden

Heather Gillich Tony Coleman Maria Ory

Formal analysis of painting

rectangles, etc. Students must consider where the rhythm breaks and identify this through drawing that element, i.e. if it is an anomaly, make it darker or lighter, etc. The point is to begin to conceptually organize the structure of the composition, to dissect it down to its component parts.

Daniel Ruff

Process modeling, final acrylic painting on chipboard

Austin Keaton Process modeling

20 A Place for 3 Paintings

The final project was to design a gallery for displaying 3 paintings by artist and Mississippi native Sam Gilliam. Students were tasked with exploring the compositional principles of transparency as a way of negotiating issues of scale, program, elementary tectonics, and context. This was taken on through a multistep process beginning with selecting a single painting by the artist, analyzing its

Matthew Hudgins

Final model, basswood and MDF

compositional structure, deploying this compositional structure in the production of a plane to support the painting, and then using this plane as the basis for a volume, which would then be articulated as a room for the painting. This procedure was then repeated two more times for a total of 3 rooms for 3 paintings. The students were then asked to combine the 3 rooms into a single gallery using the

21 compositional principle of transparency, i.e. to create a whole with the 3 rooms while at the same time maintaining the integrity of each room as autonomous wholes onto themselves, i.e. to create a whole that allows for multi-layered spatial readings, which are simultaneously singular and multiple, whole and part, unified and fragmented.

Evan McElrath

Final model, basswood and MDF

The final step was the integration of the proposal into a highly abstracted urban site on Main Street in downtown Starkville, MS.

Eric Hughes

Final model, basswood and MDF

Davis Byars

Final model, basswood and MDF

25 Evan McElrath Specified Project Name Erika Moller Evan McElrath Heather Gillich Evan McElrath Matthew Murphey Austin Keaton Tyler Johnson Evan McElrath Maria Ory Evan McElrath Matthew Murphey Pavilion for a Painting and a Sculpture

Second Year Fall Semester Tea House Instructors: Emily McGlohn (coordinator) Hans Herrmann Tom Letham (BCS)

Zach Kelly Site Plan

With the introduction to basic construction and wood framing complete (the BUILD protion of BUILD / design) the students then undertook the individual design of a Tea Hut which mimicked the Potager Lab in physical dimension but eloborated on issues od habitation, ritual, and interior

functionality. In this portion of the semester students proposed individual ideas for the ideal layout and composition of a Tea Hut using off-the-shelf simensional lumber and assembly techniques similar to those practiced in the first half of the term.

Asher Paxton

Tea House Wooden Model on foam core base, digital drawing

Alex Ross

Tea House Digital Renderings

Hannah Hebinck Tea House Wooden Model

Alex Ross

Tea House Wooden Model on Foamcore Base

Leah Welborn

Tea House Wooden Model on Foamcore Base

Potager Labs

Potager is a French term for an ornamental vegetable or kitchen garden. The historical design precedent is from the Gardens of the French Renaissance and Baroque Garden a la fancaise eras. Often flowers, both edible and non-edible, along with herbs are planted with vegetables to enhance the gardenâ&#x20AC;&#x2122;s beauty. The Potager Labs are part of MSU Department of Landscape Architecture Potager Garden project which aims to demonstrate home food production techniques for urban, suburban, and rural

Studio 2A

Potager Labs

dwellers. The laboratory structures were designed and constructed as a collapsible kit of parts which could be reproduced and assembled by home gardeners. The studio, composed of both architecture and building construction science students, detailed, estimated, constructed, transported, and erected two Potager Labs over the course of four weeks as a means of learning about the fundamentals of construction materials and methods of assembly. The studio employed the MSU School of Architecture developed pedagogy known as BUILD/DESIGN.

33 Building Construction Science Students

Architecture Students Jeronda Beason Rayce Belton Warren Brown Marian Cancio Danielle Castaneda Shelby Christian Laura Cole Joshua Cummins Samantha Graham Patrick Greene Hannah Hebinck Mitchell Hubbell

Studio 2A

Potager Labs

David Johnson Zachary Kelly Ikhias Khan Tahir Khan Amanda Kotecki Matthew Lewis Karly Morgan Annabelle Neville Prem Patel Asher Paxton Alan Pittman Alex Ross

Brooke Russo Justin Scott Daniel Smith Bailey Stephens William Stocker Emily Turner Jacob Turner Breana Watkins Kelli Weiland Leah Welborn Garland Willcutt Maxwell Wilson

Omar Ali Tyler Bexley Johnathan Burcham Charles Cary Jonathan Cave John Crenshaw Montrel Davis Jansen Fuller Seth Gillett Thomas Gray Jarrett Green

Matthew Harkey Regan Horn Cora Howell Christian Hughes John Kerce Justin McKenzie Adam McLelland Dustin Moore Adam Sims Harrison Walker

Omar Ali Jeronda Beason Rayce Belton Tyler Bexley Warren Brown Johnathan Burcham Marian Cancio Charles Cary Danielle Castaneda John Crenshaw Shelby Christian Laura Cole Joshua Cummins Montrel Davis Jansen Fuller Seth Gillett Samantha Graham Thomas Gray Jarrett Green Patrick Greene Matthew Harkey Hannah Hebinck Regan Horn Cora Howell Mitchell Hubbell Christian Hughes David Johnson Zachary Kelly John Kerce Ikhias Khan Tahir Khan Amanda Kotecki Matthew Lewis Justin McKenzie Adam McLelland Dustin Moore Karly Morgan Annabelle Neville Prem Patel Asher Paxton Alan Pittman Alex Ross Brooke Russo Justin Scott Adam Sims Daniel Smith Bailey Stephens William Stocker Emily Turner Jacob Turner Harrison Walker Breana Watkins Kelli Weiland Leah Welborn Garland Willcutt Maxwell Wilson Architectural Design Studio 2A

Second Year Spring Semester Intervention at the John C. Stennis Lock and Dam, West Bank Instructors: Fred Essenwein, PhD Justin Taylor (coordinator) Zullyika Ayub

Clayborne Stocker

Intervention at the Columbus Lock and Dam, West Bank

The goal of Design IIB was to bring together basic principles of design learned in the first year and couple them with technical knowledge gained during the Collaborative Design Studio to a physical site. The studio was organized into three separate projects to achieve this. The first project was a precedent study where students diagrammed the plans of various landscapes architecture projects such as the Ryonji Temple Complex. The second project was to site documentation at the John C. Stennis Lock and Dam near Columbus, Mississippi. Students had to draw a topographic map of an engineered slope by the Army Corps of Engineers, understand the flood plain, and document

sun orientation and direction. The last project was to do a site intervention, which was essentially a small shelter that had a gathering area, a place for interpretive panels, and an observation platform. The shelters had to address the ground an recognize passive design strategies. Students also had to select materials and discover ways to represent the quality of those materials through various means of architectural conventions and representations. In the end, students were expected to make a transition from knowing something they can physically make to knowing something that could be made at a physical place.

37 This project is about an axis of the site move someone through the forest. Once one goes to the axis of the road in the parking lot and the axis of the dock, it becomes a way to

Clayborne Stocker Ryonji Temple Complex

direct you onto the water. Once moved to the water, pretend over imaginary tree line, building right on an edge, trying to capture the ecosystems, prairie water and forest.

Leah Ballard