“Nothing is as dangerous in architecture as dealing with separated problems. If we split life into separated problems we split the possibilities to make good building art.” – Alvar Aalto
Practice chronicle v.03 This book chronicles the experience of one architecture student over the course of 3 years, focusing on the current moment and projecting beyond.
page ¡ 4
contents 01 | professional aspiration
...8 - 9
02 | why me, why this?
...10 - 12
03 | why this, why me?
...13 - 14
04 | facing challenges
...15 - 17
05 | how can i tell this story?
...18 - 19
06 | what is success for me?
...20 - 21
07 | what is success for my profession?
...22 - 23
08 | typologies of practice
...24 - 31
09 | typologies of organization
...32 - 37
10 | how will i get there?
...38 - 41
11 | evidence of conviction
...42 - 47
12 | project statement
...50 - 53
13 | design intent
...54 - 57
14 | aspirations
...58 - 59
15 | confluence of interests
...60 - 65
16 | workflow & process
...66 - 74
17 | proposal
...75 - 81
18 | ethical obligations
...82 - 93
19 | path to implementation
...94 - 97
20 | collaborators
...98 - 103
21 | justification
...104 - 105
22 | timeline
...108 - 109
23 | ideation
...110 - 111
24 | fabrication
...112 - 120
25 | product
...121 - 125
26 | documentation
...126 - 133
27 | analysis
...134 - 136
28 | reflection
...137 page ¡ 5
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intent page ¡ 7
The Speyerer Dom was my idealization of architecture as a child. Growing up half in Germany, half in the U.S. I was exposed to a great deal of Gothic and Romanesque architecture - and therefore my first ideas about what constituted a good building came from there.
1.
professional aspiration I have always been someone who strives to live a diverse life. Or, at the very least I’m equally bad at saying no. Either way I enjoy the gathering of a plurality of experiences and being able to work on a variety of projects, crossing disciplinary boundaries whenever possible. Architecture though, seems to be a discrete area of study which is comprised of a near limitless set of variables. Any given project must draw from countless different fields and expertises to be successful. What drew me to this pursuit in the first place was the gravity and all-encompassing nature of the design problems latent in our field. These are problems one cannot solve through a single perspective – my aspirations are formed around this belief. I aspire to operate between disciplinary and modal divides in my professional life. My goal is to contribute to advancing the discipline and the discourse surrounding it - and to have any significant impact I believe it’s necessary to approach architecture as a holistic endeavor. Professionally, I hope to manifest these desires through a diverse practice that allows me to explore interests in and across design, research, teaching, and writing. page · 8
professional · aspiration
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Whether these aspirations necessitate founding and/or owning my own practice, I am not sure. While that affords more freedom than I am likely to find anywhere else, I have yet to have enough experience with managerial and bureaucratic positions to know if it would be fulfilling for me. My endgame is to be a design principle in a firm, not necessarily bearing my own name, that grants me the ability and freedom to pursue the multiplicity of interests I have mentioned. I fundamentally believe that all aspects of this profession are interwoven, and to be able to anything of real value to the table one must be able to draw connections between these prongs, as well as drawn in outside influence. Much like Kieran Timberlake has done with Refabricating Architecture, I aspire like to have a manifesto of my firm’s orientation and practice become influential to future generations. A dream of mine is to have my name on a piece of material that becomes influential in architectural pedagogy. Leaving behind a legacy like that is an incredible feat, and by doing so one has the potential to better the discipline for the future – instilling values and motivations that will perhaps better the rapport of our profession. A publication is a concrete manifestation of an affect of my aspirations, however the content within it is where the ethos is most present. I will strive throughout my career to approach old problems from new distinct perspectives which pull in and compound pursuits across the discipline. I aspire to synthesize new insights regarding architectural practice and thoughts and pass those on to future generations.
professional · aspiration
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Morphosis was one of the first modern firms I became familiar with. Their work has only become more interesting to me the more I learn about the intricacies of the field.
2.
why me, why this? I was raised in a multi-cultural household, my father being German, my mother American. Growing up, I had many formative experiences back and forth between the two countries which taught me to understand the world around me through different sets of cultural values. And yet, when revisiting familiar places after being immersed in an architectural education I continue to realize new and profound connections between the built environment and its larger context. I feel that this is emblematic of the discipline at a larger scale – one can have experiences outside, and when examined through an architectural lens discover new insights which advance both fields. What drew me to the field originally was a fascination with a design problem at the built scale. Architecture in many ways poses a wicked problem; to create a successful intervention at the built scale one must be knowledgeable in an absurdly wide range of fields, but also have enough depth of knowledge to push each of their boundaries respectively. My choice to pursue architecture was in a way a non-choice for me, the design problems we tackle combine issues of art, design, psychology, physics, materials science, and history - to name but a few. page · 10
why · me
t r e I e
I resent the tendency of architectural practices to fall into a signature style or typology and continue to produce within that isolated bubble of comfort. I have had enough experience (through boarding school, small towns, etc.) to understand the dangers of embarking on any pursuit in a vacuum. In each project I have done so far, I have striven to try something new. Be it a graphic style, architectural movement, design priority, or workflow – this diversity of approaches has equipped me with a skillset that is varied and adaptable to any given issue. I have a lot of respect for practices like Heatherwick Studio who are oriented specifically against the development of a signature style. Perhaps an uncommon sentiment, I aspire to never feel comfortable about my work. To find new and better ways of doing things a certain level of unease needs to be present, a constant aspiration and curiosity for the improbable-but-possible drives my work. Since high school I have had a desire to be invested in the educational environment. Transferring from a neighborhood public school to a (state-funded) lab school I saw the difference that a novel educational approach can make. I was afforded opportunities to step into that, and taught classes (with and for) my peers on leadership, social entrepreneurship, filmmaking, and world-building. It’s an absolute necessity that the firm I work for allow me to come back into the academic environment. I fundamentally believe that school is a symbiotic relationship – professionals pass down expertise and knowledge, and students will always provide opinions and ideas that will keep any given practices work fresh. Offices like Morphosis who are deeply ingrained in an educational environment will likely continue to be at the forefront of theoretical and technical innovation. why · me
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Maintaining connections to the academic world is also vital for my aspirations in pursuit of research. I undertook several independent research projects in the fields of leadership theory, germanistic, and architecture before coming to CMU, and am now pursuing material research opportunities with Dana Cupkova as well as through my minor in intelligent environments. There are many firms that do hard research (Gramazio Kohler comes to mind) and quite a few that do soft research (Raumlabor is one of my favorites) but those that do both (SITU perhaps) are hard to find - and where I aspire to be. Writing and publication design is the interest that can perhaps tie all of this together. No matter how far technology advances writing – and, stubbornly, print – is not going away. I’ve recently become the editor of a journal in and around the field of architecture, inter·punct. We define ourselves more as a platform for ideas than anything else, but tend to use text as the medium through which we convey them. Inter·punct has provided one of the most meaningful spaces in my time at university – a space where we can discuss big ideas, theorize and think as equals, and embrace the naivete of being students without care. This ethos, more than the experience writing or editing, is what will help me in my professional aspirations. We write to put those ideas out into the world and spread that mindset as far as we can, and is a practice which I hope to continue indefinitely.
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why · me
Uptown station was the first large development I witnessed in my home town of Bloomington - Normal. Not a fantastic piece of architecture, but it did result in an excellent piece of public space out front. The circle is well inhabitted all year round.
3.
why this, why me? It takes a certain kind of person, and a certain amount of dedication to do what I’ve set out for myself. The simple reason why I believe this is the right path for me is this: an alignment of vocation and avocation. I’ve been characterized as a workaholic, for better or for worse, but the bottom line is that personally I don’t mind it in the slightest. I genuinely enjoy the work that I do, and take a great deal of pleasure out of doing it well. I aspire to have a meaningful contribution to the field of architecture – and luckily this is also what I feel called to do. I believe in the power of this discipline and am fully invested in realizing and improving it. This level of commitment is something it has taken me a while to realize I possess, but now I embrace it fully. I heartily take on anything the school can offer me and am actively striving to make the most out of my time here, looking to learn as much as possible in the relatively short time period. Contributing to the future requires an adequate understanding of the past. I am no where near knowledgeable enough yet, but at least have come to this realization and am working to get past it. I read as why · this
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much as I can, and am taking theory and history courses which will instill a foundation of knowledge that I can use in the future as a stepping off point for my own ideas. Advancement of education requires an ample amount of critical thought, as well as the courage to voice it. I occasionally have trouble with the latter, but again, I recognize this issue and am working to combat it. Participation on the Student Advisory Council as well as on the ExChange committee has given me insight and agency in our school that I believe I can bring with me through the rest of my education and beyond.
back-2-front 2019 season poster I designed this semester. I took a more active role in organizing and putting together this discussion series, and encouraged inter·punct to support it more directly. These sessions orgaorga nized by Mary-Lou Arscott have provided a much needed environment for students in this school to discuss freely and openly their views on architecture and tangential fields. Having a space where students and faculty can speak evenly on the same playing field is crucial to fostering the valuation of ones own opinions.
2/20
KIPP BRADFORD BRAD SAMUELS
My interdisciplinary interests are also directly suited to my conception of what it will take to achieve my professional aspiration. As I think that no great Can Architecture get serious? innovations can Discussants: come from disciplinary isolation, my Kelly Li history with and John tendency towards diverse pursuits will Folan Molly Steenson be a strong asset.
Back to Front
All discussions at 4:30 pm in MM203
Everyone is invited, and refreshments will be provided
“In a landscape where nothing officially exists, absolutely anything becomes thinkable, and may consequently happen.” - Reyner Banham
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why · this
4.
facing challenges
Eisenman is a tough architect to love for most of the public. It’s challenge even for me. I appreciate his writings and his ideas, but something were perhaps better off built by someone else.
There are many challenges in each of the prongs that my professional aspiration necessitates pursuing. I will write about some of three here, and one in more depth in the next section. I will associate each of the four areas that constitute my aspirations with one challenge specifically, although each challenge affects more than a single area of the profession.
1. Financial support for risk taking. Beginning with design, specifically of built works, one of the greatest challenges of creating powerful and innovative architecture is finding someone to pay for it. The goals and aspirations of the architect tend to be at odds with those of the developer or patron. If the client is a developer, their interests are chiefly monetary. Maximizing profit will rarely allow the adventurous pursuit of innovative design, when convention sells better and risks less. Anyone who underwrites a project, even if there are little to no monetary incentives, tend to seek out what has been done before. A client will likely choose an architect based upon their previous body of work and ask for something that they have already established themselves doing.
facing ¡ challenges
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2. Stability and diversity, constantly at odds. In a similar sense, it is extremely difficult to achieve financial stability and security while constantly exploring the bounds of the profession. Firms become specialized, set in their styles, typologies, and practices areas because it is efficient. As clients typically choose architects based upon their work and not their lofty aspirations, it is difficult to achieve the financial stability required to experiment and innovate. Research is often not particularly profitable – one of the reasons why it tends not to happen in the professional environment and is restrained to academia. Practices such as SITU have struck a good balance, by maintaining a practical and profitable arm in order to foster an experimental and risk-laden research branch.
This image from SITU ReResearch exemplifies a project which crosses disciplinary boundaries, using an ararchitectural skill set to tackle complicated social issues specifically involving spatial forensics and analysis.
3. Traditionalists and restrictions. Largely due to the financial issues outlined above, I believe it is of utmost importance to utilize the years in school to explore the field as widely and as in depth as one can. Regrettably this can be quite difficult at some institutions, as those in charge are set in their ways and unwilling to budge. There is nothing inherently wrong with traditions – they are usually there for a reason – however, there is everything wrong with denial of experimentation. As a student, one should be allowed to page · 16
facing · challenges
follow any direction that piques interest. There is no worse feeling than finding a subject or an approach to a studio project which fascinates you, and being told now is not the time to pursue it. It has happened at CMU, and I’m sure it happens at other universities. Authority is by nature afraid of change, and I aspire to shift that mentality. In order to make an impact and achieve my aspirations, I must navigate my way around these issues. The solution, as I see it, presents itself in the approach. A holistic approach is one inherently imbued with reason and justification – the parts are intimately interconnected, supporting both the whole and each other. Research will provide proof of concept for experimental building, educational endeavors provide support and context for research, and building solidifies the conceptual ideas of both as well as providing a foundation off of which each can build. The last interest, writing, will justify and provide recognition for all the above.
“Architecture never derived its force from stability of culture, but rather from the expression of those moments when that sense of stability slipped.” – Mark Wigley
facing · challenges
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Reyner Banham has long been an inspiration. He makes architectural theory accessible and digestible. A hero amongst academic writers.
5.
how can i tell this story? Perhaps the biggest challenge in the face of my professional aspiration is communication. As Architects, we tend to communicate to each other in a jumble of technical, theoretical, and simply invented terms that sometimes even other Architects have trouble understanding. The most powerful pieces of theory are rarely those that take years to interpret, they are the ones that speak to anyone and everyone equally - being easily interpreted and clearly relevant. I don’t understand the need for theorists, in our field and elsewhere, to write and speak in ways which exclude half of the field itself - not to mention the public. This is one reason I respect the ethos of Reyner Banham so much, he wrote on subjects specific and relevant to the field, but in a way that everyone could understand. No implementation of the lofty critic-ese nonsense that so many other writers employed. We model the ethos of our journal inter·punct after his. As a member of inter·punct, I’ve had the privilege to interview a great deal of our guest lecturers. Doing so, along with listening to the lectures themselves, has shown me that there is a plethora of ways in which to present oneself and one’s work. The two umbrellas page · 18
telling · stories
n c
under which I would group them, are project centric and idea centric. It has always come across more effective to me, to speak more so about the overarching ideas of ones practice and back that up with specific projects rather than to speak about projects and the discrete ideas that went into them. It produces a clearer narrative that is easier to follow, and more powerful. Focusing on writing here as the primary means of telling the story of our profession (thereby conveying my professional aspirations) here are three ways in which I believe it could be done more effectively, with respect to the issue outlined above.
1. Write relaxed One often hears “conversational tone” cited as a negative point for writing, but I would argue that speech is nearly always more accessible than writing. Mark Wigley for example, is an extremely entertaining and poignant speaker, but when he writes his thoughts become dense and opaque. We don’t need to force writing to be intellectual, writing relaxed lets the ideas shine through and stand on their own. 2. Include imagery Appealing to multiple learning styles is always a positive factor. Our profession is unique in the way in which we convey powerful ideas through graphical means. Why don’t we use these skills to strengthen written ideas, instead of the other way around? 3. Be humble Writing like you know the answer is never fun for the reader. It excludes and diminishes opinions, and after all, you can never present an absolutely infallible argument. Writing humbly will help dispel some of the negative preconceptions about our profession. telling · stories
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The ethos of Kieran Timberlake’s manifesto as it was presented to us in class resonated with me heavily. Their outlook on the architectural profession is wise and informed while still being adventurous and pushing boundaries.
6.
what is success for me? Success is measured in many ways, none more correct than others. What it means to me likely comes in part from both my upbringing and education. I have never had significant wealth, but have often been surrounded by those who do. Monetary means have never been a prime motivation for me, I have been lucky enough to have the ability to pursue my interests to a reasonable extent – and that’s all I desire for the future. I’ve learned to live comfortably with limited means, and am confident enough in my abilities that I do not fear for the loss of this privilege in the future. Success for me is much more about being recognized for the work I do. Whether through awards, citations, grants, or positions – recognition comes in different forms from different places. I would consider myself successful if I am invited to lecture at universities or conferences. Being chosen out of the crowd to share my thoughts and practices, and the vote of confidence in my professional orientation that comes with it, would be a mark of success.
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personal · success
s d e d -
I would consider myself successful if my work – be it written, built, or a research project – be presented in an educational environment. I aspire to advance our field and empower future generations, and the metric of achievement for this lies within academia. Knowing my ideals and ideas will live on in future generations holds a lot of weight. I would consider myself successful if I am able to make the public more understanding of our field. One of the greatest issues with our profession is the lack of public inclusion on projects. We intervene in the public realm often without any consideration of the public’s wants and desires. It prevents getting traction for important projects, or letting architects participate in important processes in which their skills are necessitated - but never realized. Small endeavors like PlanBude begin to shift this paradigm in ways from which we can all learn. I would consider myself successful if for any given project someone who has no reason to do so takes interest and is impressed and/or effected by it. As architects we create spaces that have greater life and power than we ourselves possess, and to create an environment that makes people stop and think – to critically reflect on what is going on around them – would constitute a successful project for me. I would consider myself successful – on a more fundamental level – if I am able to work on projects that interest me for most of my career. Working myself into a position where I have enough economic stability to be afforded the choice to only pursue the projects that grip me would be the ideal situation. I aspire to align my vocation and my avocation.
personal · success
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Herzog and de Meuron are in my opinion the best architects practicing today. I aspire to work for them, or own a firm which produces work on that same calibur.
7.
... for my profession? Objective measures of success are divided into discrete categories and tend to be associated with monetary value as the societal metric. Differing in these two ways from my personal measure of success, there is little direct overlap, although a great deal of factors are associated with each other. I am striving for a holistic measure of success, but first it is pertinent to outline the constituent categories. Most of these can be seen as recognition at some level as well, usually concrete awards or positions.
Success for practitioners A more traditional model, success for practitioners comes in the form of commissions, competition wins, and awards. There are awards for nearly every metric of building design, the VELUX award for daylighting, the Morris Hunt Prize for preservation, the Saremi Prize for social responsibility, and the list goes on and on. The more interesting and desirable awards for the mode of practice in which I am interested are those which reward experimentation and innovation. The P/A Awards, or the Prix de Rome for example. Success for research The success of research projects can be both internal page ¡ 22
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and external. When one sets up an experiment or hypothesis it is inherent in the process that one come up with an outcome. Whether it affirms or refutes, whether the endeavor succeeds or fails, as long as it ventures into unexplored territory and sheds light where there previously was darkness – the creation of knowledge is success in and of itself. However, for societal recognition one must understand the importance of any given project, and that is typically done through publication in journals or utilization in practice.
Success for educators Success in academia is less objective than the rest. There are concrete metrics, awards for educators, publications, tenure, etc. The most important factor though, is the success of your students. How one measures this? I think it’s relatively undefinable in words, as each student will have their own measures of success, but one will know when it happens. Success for writers The success metric for theorists and critics consists of dispersion of ideas and influence. Typically, through inclusion in (or creation of) significant and well-read publications or compendiums. What good is writing if no one reads it? There are of course concrete awards in this area as well. The Schelling Theory award, recently given to Keller Easterling, being one pertinent example. Holistic success What I aspire to is not necessarily success in any one of those areas, but success across and throughout. Whether that is measure cumulatively through each of the categories, or through a separate more abstract metric I am not sure. There are lifetime achievement awards which attempt to quantify this – the Pritzker or RIBA awards – but I have no perception of how the juries validate their decisions. professional · success
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Gramazio & Kohler take technological research and adventurous art statements and fuse them together into an almost entirely new discipline.
8.
typologies of practice I have chosen to categorize practices into typologies responding to what I perceive their strengths to be – respective to my areas of interest. The diagram on the following spread depicts how I see many of them operating, and what I perceive their biggest strengths and overlaps to be. I’ll summarize my definitions of the typologies, and go on to describe in some detail those which I believe to be some of the most interesting to me. The practices are intentionally displayed nonhierarchically, many are too different to compare at face value – instead I am comparing their focus areas. All practices selected are ones which I respect immensely for their work and contribution to the field. It is also to note that just because a particular focus area is not one of their strengths, that does not mean that the practice never ventures into that realm. Those practices displayed faded and unconnected to the web are not necessarily any less relevant than the others, however, operate on the periphery of architecture. The page · 24
practice · typologies
inclusion of these liminal fields is particularly relevant to my professional aspirations - and while not the center of my investigation, remains influential to the thought process and understanding of how I wish to shape my professional life. The sections below provide a narrative illustrating what a typology represents, how it functions, and what it does for the field holistically.
Research forward These practices put the creation of new knowledge, technologies, and methodologies of architecture at the forefront. It is in their mission statement, or one of their primary aspects of engagement. Those selected span a variety of focus areas, from digital fabrication to social and urban issues. Many such practices actively collaborate and hire dedicated researchers, academics, or Phd students who normally would have no place in professional practice. Through these agents the firms develop technologies and strategies which better their work and consequently the entire discipline. In the drawing on page 26/27 these practices are demarcated with a black circle.
Publication forward These practices make a point to disseminate their work and ideologies through written work – essays, articles, books, and magazines among other modes. Many offices will publish a monograph or write articles during their time, but in these firms, it is a major priority and source of their renown.
practice ¡ typologies
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The typical typology is a manifesto of a certain ethos of practice. The best firms don’t leave it at a one-and-done but continue to develop and refine their orientation, adjusting to the ebb and flow of volatile temporal variables such as culture and attitudes. Firms which embody this typology understand that production and research are not enough, in order to have an impact one must actively seek to share what they have learned with the discipline at large. In the drawing on page 26/27 these practices are demarcated with a yellow circle.
This image of a community bath house project by RaumLabor exeplifies a new and increasincreasing popular kind of small project urban interintervention. They cross boundaries of the typolotypologies I have identified, and are becoming on of the pracctices I am most interested in.
Practice forward The primary dedication of these offices is to their physical work – typically on a building scale. They strive to produce significant projects that advance our conceptions of typology and space, while not falling into a distinct formal style. They are prolific, but do not dilute their work with mediocre buildings, each project gets the attention it deserves. A common thread running through firms which embody this typology is an obsession with the detail. It page · 26
practice · typologies
is not only about an overall formal gesture, but equally about how those sentiments are embodied throughout every scale of the building. One doesn’t simply stop at how something can be built, there is an constant ongoing search for how it could be built more effectively, efficiently, and beautifully. These practices don’t believe the architect is the master builder, they understand the importance of collaboration with the work force. In the drawing on page 26/27 these practices are demarcated with a cyan circle.
Education forward Many of these firms have been influential in the founding of a school, or the development of a particular program. The leadership of the offices actively participate in academia, many serving as professors or critics, if not leading entire departments. Firms which embody this typology understand the importance of this involvement for both parties. Students are treated respectfully, their ideas valued and discussed on an egalitarian playing field. The practitioners keep their own work fresh by being constantly engrossed with and steep in naive creativity and contemporary trends. The collaboration breeds the next generation stronger and faster, something which I strive to uphold in my future practice. In the drawing on page 26/27 these practices are demarcated with a magenta circle.
practice · typologies
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strelka institute
gramazio kohler
carlo ratt associati
visualfarm
forensic architecture marshmellow laser feast
raumlabor
studio drift
situ
mvrdv
lewis tsurumaki lewis diller scofidio & renfro
research forward publication forward
so-il
m
practice forward education forward
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practice · typologies
kimchi and chips
nonotak
tti i
kieran timberlake teamlab
unstudio lab for material architectures
office for metropolitan architecture
studio olafur eliasson
neil denari architects
arup
studio odile decq herzog & de meuron
mos
snohetta oyler-wu collaborative
morphosis
studio roosegaarde
refik anadol
practice · typologies
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I’ve selected the following practices as examples of those which bridge the typologies I’ve identified the best. I believe they synthesize the approaches into a holistic practice which is greater than the sum of its parts. This is the work that is the most meaningful to me, work that crosses boundaries and combines knowledge and skillsets to bring innovations and insights into the architectural profession. Attributes such as size, location, and cliental are not as important to me as the ethos driving the work, and the outcomes which is has on the profession.
Herzog & de Meuron Herzog & de Meuron represents for me the pinnacle of the convergence of practice and theory. Their work is ever changing – tackling a broad range of scales, programs, and styles. I have visited several of their buildings, each one completely unique in style and situation. Unless you already knew, one would be hard pressed to pin all of these works down on one firm. They tie this together through ample publications of monographs, essays, and manifestos. SITU I have incredible respect for SITU and the way that they have subverted the traditional architecture practice. None of the partners are licensed architects, yet they practice in scale and depth that many traditional architecture offices struggle to achieve. The tripartite organization of their office separates the focus areas for the public perception, but behind the screen they operate collaboratively across disciplines. They bring together practice and research in a way that does not synthesize the two, yet keeps both running full steam in discrete processes. RaumLabor RaumLabor is a small practice with immense aspirations at small scales. They practice a research-based design page · 30
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strategy rooted in the intricate idiosyncrasies of place, fusing soft research and practice in a slew of smallscale urban interventions and acupunctures. They strive to initiate processes, rather than solve problems, empowering actors that know better than them to uncover and activate the possibilities within urban space. They reject the top down ideas of architects creating a utopia, and instead seek to advance the field through a collaborative and cross disciplinary process fusing architecture, city planning, art, and urban intervention.
This project by UNStudio integrates spatial, technological, and material explorations into a cohesive whole which adad vances our typical conceptions of` what it means to interact or participate in a space.
UNStudio The goal of UNStudio is to “future-proof the future”. They are an ambitious practice with efficiency and interdisciplinarity at their core. Subgroups UNSKnowledge and UNSFutures collaborate with various educational and research institutions and strive to make their discoveries available to all – creating a database for sharing and expanding the experience and skills they acquire.
practice · typologies
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I nearly worked at RaumLabor last summer. As a practice, they create provocative structures and conduct in depth social research.
9.
organizational typologies “It is not possible to live in this age if you don’t have a sense of many contradictory forces.” – Rem Koolhaas
The organizational typologies I have analyzed are extrapolated from the firms I’ve identified as of particular interest in the preceding section. Their organizations range from small to large, conventional to unconventional. I’ve characterized them as follows: Hierarchical (Herzog & de Meuron), Split (SITU), Collective (RaumLabor), and Convergent (UNStudio). These firms are by no means the only ones which exemplify these typologies, they are simply examples from which I have tried to glean an understanding of organizational functions which are of interest to me. The individuals and their roles are left intentionally vague, as these typologies are intended to be generalizations of practice. The nuances of a firm’s particular operation are too varied and shifting to quantify in such a diagram. In this way, they remain applicable to a broad spectrum of practices, and are more focused on the methodology through which work is produced. page · 32
organizational · typologies
founding partners
+ founding + critical decisions, reviews all work + direct influence on large projects
senior partners
senior assosciates
+ 6-10 years experience + group/project oversight + creative work and control
assosciates
+ 3-6 years experience + skilled labor + decision making ability
interns
+ 0-3 years experience + low-skill labor + little directive
production
+ 10+ years experience + firm oversight and management + creative work and control
experience
partners
resposibility
+ 10+ years experience + critical decisions, reviews all work + direct influence on large projects
collaborators
+ 0-10+ years experience + includes contractors specialists, consultants + have authority respective of their expertise areas
Hierarchical A hierarchical firm structure affords the most clarity, and often the most efficiency. Everyone understands where the responsibilities and authorities lie and is able to operate precisely within their positional bounds. It also provides the clearest path for mentorship – with a direct line up the chain one will almost always have superiors to look up to and ask for guidance. There is nothing inherently wrong with a hierarchical structure, but if it slides away from being a meritocracy into a realm where it is unclear how to move up, it becomes a dangerous trap. organizational · typologies
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expe rie nc e resp o
production
+ experience levels varry throughout the ďŹ rm. + authority is collective, decisions go through via democratic design review + consultants and outside collaborators brought on extensively to complement the core team
ibility ns
partner
collaborator
Collective A collective is essentially a completely flat structure. This can only operate well on a small scale, large collectives become unwieldy and inefficient. However, when a limited group operates in this manner it can be extremely productive. A free flowing and level discourse between members promotes a culture of acceptance and validation, and will lead to the development of holistic projects which are more sophisticated than if the same project were passed off to a sequence of teams. A key element to the success of this strategy is the temporary inclusion of outside parties within the collective. A group of such a small scale must be willing to break out of their organization and seek collaborative relationships with experts and with the public, and the nature of the organization allows for their seamless integration into the process. page ¡ 34
organizational ¡ typologies
partner interest group principle
assosciate
+ 3-6 years experience + skilled labor + decision making ability
partner
partner
+ 0-3 years experience + low-skill labor + little directive
ility
expduction resp erienc osib e
lity i b i s o resp rience expdeuction pro
assosciate
+ 3-6 years experience + skilled labor + decision making ability
interest group
assosciate
pro
principle
+ 6-10 years experience + group/project oversight + creative work and control
intern
production
+ 10+ years experience + critical decisions, reviews all work + direct inuence on large projects
interest group
support personnel + 0-3 years experience + low-skill labor + little directive
Split A split structure affords the freedom to pursue many different lines of work, with little interference. Each branch is individually run and specialized for its field. This organization is efficient, in that a portion of the firm operates on the same kinds of projects consistently and becomes increasingly good at tackling those specific problems. The danger with this structure is that one must always allow for communication and flexibility across the branches, lest the teams begin to operate in isolation and lose the benefit of interdisciplinary discourse. organizational ¡ typologies
page ¡ 35
founding partner
+ founding + critical decisions, reviews all work + direct influence on large projects
senior principle
+ 10+ years experience + firm oversight and management + creative work and control
senior principle
principle
+ 6-10 years experience + group/project oversight + creative work and control
pr
on i t assosciate c + 3-6 years experience produinterest
od interest group
group
+ skilled labor + decision making ability
assosciate
u c tio
n
senior priciple
produ ducti ction
ce
n ieassosciate r pe x e
sp re
principle
interest group
on si bi lit y
intern
+ 0-3 years experience + low-skill labor + little directive
Convergent Similar to the split organizational typology, the convergent has separate interest groups pursuing their own specialized work. The difference is that in a convergent typology, the groups begin separate but all come together on every project. They research and gather information in efficient isolation, and then disseminate the relevant pieces to the rest of the group for use on a project. The management of a convergent organization is centralized, and reads similar to a more common “flat-archy” typology. page · 36
organizational · typologies
Herzog & DeMeuron are a pracprac tice which while conventional in structure, currently produce some of the most unconventional and interesting work. Their mastery of formal gesture coupled with their attention to detail results in what is - in my opinion - the best firm practicing today.
I believe all of these typologies are extremely effective for the orientations of the firms that I have based them off of. None is inherently better than any other, however the characteristics associated with each typology have implications regarding the pursuit of my aspirations. The most important factor of which being the potential for cross-over in the work structure. I feel that the Split and Collective typologies will afford me the most opportunities to do this throughout the entire process. I don’t expect immediate authority, and instead will relish the chance to gain trust and move up through an at least semi-hierarchical merit based system. organizational ¡ typologies
page ¡ 37
I have a soft spot for brutalism. I hope to take Hal Hayes’ brutalism studio next spring
10.
how will i get there? The steps I will take to achieve my professional aspiration are all centered around understanding the components or modalities through which I wish to have an impact, and continually striving to create more connections between them. The diagram on the following spread lays this out in a graphic manner, but I will detail some of the crucial stages first. I’ve touched some on my experience so far in previous sections, prior to university it was mostly teaching – with a few writing and research experiences as well. I developed curriculum and facilitated two different student run educational programs, and taught a couple week long mini-courses with my then roommate. I dipped my toes into independent research as well, pursuing projects in architectural history and germanistic. Once at Carnegie Mellon, I began to branch out even further. I devoted myself to the academic study of architecture, focusing particularly on history courses and technological courses relating to computational design and intelligent environments. I joined inter·punct, and later became the editor. I worked for several professors on projects their offices were page · 38
getting · there
undertaking, and picked up work in the summer as a pre-college TA and an intern at a sizable architecture firm in Germany.
Last summer I worked in the office of Sander.Hofrichter (A|SH). This was a powerful experience for me, and taught me a great deal both about the realities of the profession, and about the ways practice and surrounding culture influence each other.
For the rest of my tenure at CMU I plan to invest most of my time pursuing research and writing. I am pursuing opportunities for materials research with Epiphyte lab, and am currently taking the first of many theory courses. I’m interested in Colvard’s Industrial Architecture studio for my Fall 2019 ASOS – industrial architecture/architecture for non-human actors is an interest area of mine, one that I believe is becoming increasingly relevant in our Anthropocene society and remains relatively unexplored. Following that, I am currently torn between Cupkova’s Mediated Nature studio, and Hayes’ Humanizing Brutalism studio. Both are fascinating, and would be relevant to advancing my aspirations – I’ll put that decision off for my future self. Fifth year I am set on doing a thesis, the exact topic of which remains also to be determined, however I have a strong desire to pursue a self-guided project where I am free to go where my intuition and the moment take me. It also will afford me an opportunity to synthesize aspects of research, practice, and writing into a cohesive holistic project for the first time. getting · there
page · 39
I intend to explore different typologies of practice during my summers, seeking internships that provide me with a new experience above all else. Postgraduation I intend to seek out a position at one of the firms mentioned in previous sections, working for a couple of years to get my bearings, finding an adjunct professorship at a university, and pursuing licensure. After however long that process will take, I intend to go back to school for a graduate degree. By then I hope to have worked out a specific area of interest through which I am able to bring these different modalities together and synthesize something which will advance our discipline.
cmu
now
previous education
s.tudent i.ndependent r.esearch
research with epiphyte work for ultra low res
intelligent environments courses
social entrepreneurship
research teaching
ta-ing
precollege
intersession 1
in
intersession 2
cupkova/hay
practice writing
l.eadership e.ducation a.nd d.evelopment
studio sequence
work for sander hofrichter
inter·punct board
colvard asos
theory courses history courses
page · 40
work for studiogruber
inter·punct editor
getting · there
internship
inter·punct volume 3
The tentative endgame is to find or start a firm in Germany – and work there until the end. I specify this location for several reasons, the first being simply that most of my family lives there. More importantly though my political and professional values align more with the culture there than in the United States. I see many tangible short term benefits to starting my career in America, but foresee myself being much happier letting it play out in Germany.
practice
nternship assosciate position
yes asos
p
professional publication
adjunct professorship
graduate degree licensure
thesis design position
getting ¡ there
legacy professional research emeritus professorship
page ¡ 41
Images of the book I produced in berlin last summer. I was exploring interests of print making, sketching urban conditions, and collage.
11.
evidence of conviction My conviction towards my aspirations is evidenced in the variety and depth of my work. Through studio projects, fabrication projects, research endeavors, and publications, I strive to give my best in everything. Sometimes I feel that I spread myself too thin, but I believe that now is the best time to do that. I started out this chronicle by pointing out how bad I am at saying no, and I’ll end it that way as well. At some point depth will become more important that breadth, but at this moment I am still seeking to explore options, gather knowledge, and prepare myself for future application. The work displayed on the following pages comprises the variety of fields and styles through which I have been experimenting thus far. It is organized with respect to the focus areas running throughout this book - regrettably, teaching has not played a large role so far. The remaining three progress through a small selection of projects already completed, as well as those on the immediate horizon. As I continue this journey my work will become more specific and directed, towards a unified thesis and applicable ethos. At the moment my aspirations are lofty, and I cannot prove all of them by myself. I believe my peers and professors will confirm the majority of what I’ve stated, I would encourage the gathering of their opinions for further proof. It will be more objective than my own.
page · 42
conviction · evidence
Learning to value craft is an essential part of becoming a successful practitioner. Through fabrication projects like this one, I have learned the importance of working over a detail until it serves every aspect of the piece
practice
inter·punct in conversation
inter•punct
9.9 | 2018
GJ: “So let’s say an architect plans a city: it has all these heavenly orientations towards the cardinal axes and he uses everything in his toolkit to make the perfect city. Does that action of just saying to the people living in the architecture that it’s ‘heavenly oriented’ act as a placebo to the people living in the architecture — to make them love it more, or be more proud of it? CE: I think Perez Gomez’s fundamental argument is that it is not a placebo. He references Heidegger at the end where he draws a connection to the concept of ‘stimmung’. Essentially, it relates to his idea of “dasein”; roughly it means being here and being there at the same time — being of the world. LH: “…your inner essence unfurling across time”. CE: Stimmung is both a musical term in reference to harmony, but also means one’s mood. The stimmung of the room is the atmosphere of that place... GJ: The Germans are very Japanese. CE: Yeah, very true! What he’s saying is that you approach the world with this inner intrinsic mood, and that the world opens up to you in respect to your stimmung to it. One could even say your attunement...
writing
GJ: The Koreans have a similar word — it’s atmosphere, bun-wigi — and essentially whenever you walk into a bar or club with your friends you say: “bun-wigi-ga johda”, or “oh, the atmosphere is nice”. People inherently have this sense of good atmosphere. And, I guess, Americans use the word “vibe”.
LH: I think it’s a lot to expect from architecture to always provide that. I think that could be exhausting to people if everywhere they go has an experience. The author mentions spiritual buildings a lot — I mean, imagine if everywhere you go the Catholic church is just bearing down on you. CE: I don’t think he’s saying that it needs to be bearing down on people. He cites Vitruvius in talking about the main purpose of a well-designed city — laid out on axes and well-proportioned and so on — because when the environment is balanced, the stimmung is balanced. So, the way you are perceiving it becomes internal, and your psychosomatic health becomes balanced because the environment is balanced.
inter•mission
Editorial Note
identity · identity · identity · identity · identity
Christoph Eckrich, Gil Jang, and Lukas Herman discuss Alberto Perez-Gomez: The Role of Architecture and Urban Design in Psychosomatic Health
Editorial Note Prescription Brand In conversation
CE+CV Alexander Wang
Embracing a people-first culture has been celebrated as the key to success in this century, with everyone from The Huffington Post (now HuffPost) to Uber making commitments to “put people first” and even undergoing major rebranding to promote their user-focused practices. These commitments undoubtedly vary in sincerity and application, but clearly, today’s consumer is far from interested in products that do not reinforce the strength of their individuality. Whether it’s because of an association with a specific individual, or a commitment to everyone’s right to express themselves, ventures that succeed (at least in a strictly business sense) do so because they cater to the highly specific needs and desires of the individual. Mass customization has long been the form in which individualistic ideologies have manifested, made possible and popular through architecture and design. Making the idiosyncrasies of consumers the highest priority, this approach to production has made it not only possible, but normal for people to expect everything they own and do — cars, clothes, food, furniture — to be made-to-
fit. The users become more important than the object, with the production process becoming a means to their ends. More recently, the advent of influencer marketing dramatically rearrange consumer priorities and create new reasons why some products are valued more than others. Entertainerentrepreneurs are a dime (read $1bil.) a dozen and the success of companies like Kylie Cosmetics and Goop can hardly be attributed to the qualifications of their ambassadors, or the quality of the products they sell. As we pull at the threads of the relationships between designers and users, it becomes necessary to ask: what of the product itself? If (designed) space is a commodity, what happens to it when those who design it and/or those who occupy it are the focus of the process by which it is created? In this issue of inter•mission, we test the limits of the architectural profession’s influence in and on the Age of the Individual: a time when a brick sold by the right people can fetch $1,000 on eBay. · CE + CV
INTER·MISSION We read the news on our phone (if we read it at all), draw on our tablets, and write love letters on our computers. What happened to paper? Surely, we can’t all care about trees that much. This isn’t about the quantity of content; it’s a question of the streamlining of information into 140 characters that illuminate our faces, the information stuck somewhere in our optical nerves. We provide you with a new format: a piece of paper, tabloid, duplex printed. Each issue explores a new topic, through words and images. In a sense, we hope this new format will help you turn on, tune in, and drop out. Today, it is more important than ever to slow down, pause, process, and think. And what better way to do this than receiving more content? Take a break, and sit down with us. This is INTER·MISSION.
INTER·PUNCT is a platform for ideas, theory and discourse sometimes about architecture.
Interpunct has given me an outlet to write freely and explore ideas I otherwise would toss aside. Regardless of subject matter, learning to voice ones thoughts and beliefs is a critical first step.
Brought to you in part by CMU SoA’s lecture series, curated by Spike Wolff. Shout out to Mary-Lou and Kai.
Gil Jang i•p
www.interpunct.pub interpunct.arch@gmail.com
research
conviction · evidence
For a project I needed to simulate the behavior of algal particles in various cross sectional environments. As no one had done this before, I read studies on their behavior and wrote a script from scratch.
page · 43
The workspace project was our first to become code-compliant and structurally sound. Integrating these into my process created an elegant solution which grew organically out of the concurrent pursuit of those factors.
There are few things I feel stronger ownership over than a book conceptualized, written, illustrated, and craft by myself. It captures my essence, and can be used to share this with others.
Research does not have to mean computational simulations, projects such as the Urban Agriculture Center have guided me towards pursuing deep research into community and context.
page ¡ 44
conviction ¡ evidence
Material research and experimentation have played a crucial role in several of my projects. Here the relief on the concrete panels mimics the frit on the glass, creating a cohesive language between two disparate elements.
A project done for Ultra Low Res Studio - I saw through from initial design to fabrication. Even at the scale of an installation, going from drawings to implementation is an enriching learning experience.
I have been fortunate to get the opportunity to interview many of our lecture guests. These conversations have effected my views on architecture in remarkable ways, and editing them always serves to clarify further.
VOL. 04 NUM. 01
WWW.INTERPUNCT.PUB
27 AUGUST 2018 | PITTSBURGH, PA
FEBRUARY 2018 — inter·punct joins Mark Stanley for a breakfast interview discussing culture and politics in the late-postmodern.
i•p: You presented a broad array of work, far more modes of expression than most lecturers. This made us wonder if you see yourself as wearing many hats - for instance, if you act as a curator for exhibition work and as a critical designer with the futurology institute - or if you see yourself as an architect in all of your projects? Mark Stanley: I like to think of myself as a cultural producer more than anything. I think architecture and architects are good at that anyway; they know more than they let on about cultures, about things that happen inside of architecture, about things that architectures cultivate or throttle or modulate inside of them. That’s probably my favorite way to think about it. So when I’m taking on different modes, I’m usually not thinking about it differently; I like to not make distinctions between the types of work I do. I get that other people do like to do that, so any kind of steerage or categorical framework around my work – and this is the only reason I would do it – would be to try to be understandable to different audiences. In this lecture, I just wanted everyone to know that I wasn’t completely crazy, so I showed some work up front to demonstrate that I’m a designer too, before getting into something I was way more interested in, which was to try to open up some cultural juice, some political frameworks, some programmatic thinking around what happens in the world and in architecture and how they can be allied with each other. i•p: Is the idea of medium something you have resolved going into a project, or is it a process that influences the articulation of the end product? INTER•PUNCT
conviction · evidence
27 AUGUST 2018
inter·mission
|
MS: It’s a little of both. There are moments along the way where you have to basically risk a claim and say, “Okay. I know I’m going to make 21 agents in this project”. That happened in the Manhattan Project 2.0 really early on. I just said, “I really want to spread the deck on this project. I want to make 21 agents. Some of them are going to be built things, some are going to be people, some will be nonhuman actors, and some are going to be
government entities, but I know 21 is the right number.” Just because it’s larger than 20 and less than 22, it’s an odd number, it’s a multiple of 7 and it just seems like the right number. So there are moments like that, but there are also moments along the way where things start to emerge: structures, ways of organizing things. For example, there were three governmental entities: the Agency of Airborne Information, the Bureau of Techno-Nature, and the Institute of Simulation and Actualization. So those three became main organizers in the project to gather the other seven agents around them, which was not a concept I had at the beginning but one which
INTERPUNCT.ARCH@GMAIL.COM
emerged through the development. i·p: You talk about this idea of Network Culture, where urbanity is synonymous with connectivity — but what does that mean for the new rural? How do these ideas apply to the 2016 election, one of the clearest urbanrural divides in recent history? MS: The 2016 election was this recalibration moment between the urban and the rural. People who h a d
always been rural and had never engaged in what we think of as the city suddenly had all this agency in everything because they were connected to the network. They had been snapped – at least behaviorally and socially – into an urban condition. The election map is a sea of red with blue points on it where all the cities are. Every time there’s a city in a county, that county turns blue. We know that cities align with democratic left-leaning politics. Why is that? Because there are simply more people in a space together. They have to get along together, even if they don’t like each other, and become citizens next to each other. But in a rural place, that’s not the
case. I grew up in a rural place, which is just an entirely different life experience. After a while, a lot of political ideas that don’t involve other people appeal to you a lot more. The 2016 election cycle was interesting because the people in rural places which presumably had no agency to change the politics of the nation in any serious sense tapped into this really highpowered agency across social media. And now we’re learning a lot more about other non-human agents that had a hand in that too, like Russian bots. “Where’s the rural now?”, I think you said. Well, I’m not sure it exists anymore. I mean, what are the statistics about cell phones — there are 9 billion cellphones on the planet and 7 billion people? Is anyone really disconnected anymore? And if they are, do they really register on the global culture? That’s one fairly irresponsible way of looking at it, but if we just allow ourselves irresponsibility, sometimes it gives us new ways of thinking about everything. i•p: There’s an idea in policy debate of inherency versus solvency; inherency being the statement of the status quo and solvency a much more pragmatic call to action. A lot of us struggle with this space between just raising awareness about an issue and dictating a solution, and we wonder how you reconcile the two within your own work as you bridge the gap from very human-related practical solutions to extremely speculative projects. MS: It’s a good question; a difficult one. I think that it’s easy and common, not only in architecture, but in creative and policy disciplines all over, for people to identify the problem and then want to solve that problem. And people seem to be dissatisfied with that in the 21st century, because everything is so complicated. Everyone knows that there’s not a simple solution to what you’re talking about, but one doesn’t also need to throw up
BROUGHT TO YOU IN PART BY THE ALAN H. RIDER LECTURE SERIES
page · 45
A recent project in development has been combining aspects of practice research and design, creating a conceptual experience for those interacting with a built intervention, and translating their interactions into a publication.
Structural drawings in many ways begin to combine all three aspects. They are integral to practice, often require a great deal of research, experimentation, and innovation to do well, and are vital to an architects communication.
Writing has and always will be an integral part of my design process. Every project begins and ends with a short essay, written off the cuff, clarifying my intent and the parti of the project.
page ¡ 46
conviction ¡ evidence
I will be working at Bohlin Cywinski Jackson this summer, and am deeply looking forward to learning from their design process, and their attention to detail.
I hope to pursue material and computational research with Dana Cupkova this coming semester. Her work blends many of my interests, and hopefully will be a stepping stone to individual research endeavors.
This summer I will also be editing the SoA EXCHANGE publication. I hope to create a unified and holistic presentation of our school, it’s strengths, and student work.
conviction ¡ evidence
page ¡ 47
page · 48
evidence page ¡ 49
Sketch of proposed development in our studio site.
12.
project statement The Environmental Charter School of Pittsburgh is seeking to expand their academic facilities, and build a dedicated building for grades 6 through 8. ECS follows an unconventional educational model of project-based-learning, facilitating their goals of emphasizing STEAM education and fostering environmentally literate citizens. Their unique approach to “out-the-door” learning is a powerful asset for them, but in their current facilities the direct connection to both the environment and the community is limited by the existing architecture. Through the commission of a new building these themes and ideals can be addressed directly, and integrated into the overall architectural expression. The project takes into account six key principles. It must be: 1. Sustainable 2. Contextual 3. Flexible 4. Adaptable 5. Demonstrate the principles of ECS 6. Promote ecological literacy. page · 50
project · statement
Other priorities include the desire for the building to be a community resource, available for wider use in evenings and on weekends. This requisites other considerations of zoning and security between public and private spaces. Resource conservation is of utmost importance, aligning with the principles of ECS and their financial situation. The building should take full advantage of passive strategies to condition spaces, and the stewardship of the land must be considered. All areas should be designed and programmed. Our site is approximately 30,000 sqft with a minimum FAR of 2.0, and a maximum height of 4 stories. Located in Specially Planned Subdistrict A (Southside Works) our site is in the midst of a highly designed, gentrified area. The pedestrian corridors are wide and well maintained, and there is ample connection to public transit. Our particular location puts special constraints on our building, as it must adhere to both Subdistrict A’s requirements, as well as those of the Riverfront Zone.
Site Public Schools Charter Schools
page ¡ 51
Thinklab Workspace: 4000 sf Staff offices: 2 @ 150 sf Storage: 300 sf
Loopgroup Pods Home room: 1 @ 500 sf Studio classrooms: 4 @ 1,250 sf Teachers office: 4 @ 150 sf Small group space 4 @ 150 sf Storage: 4 @ 100 sf
Core Egress stair Elevator Bathrooms x 6
page · 52
PROGRAM
Multi-Purpose Space Stage: 250 sf Main seating: 1800 sf Overflow seating: 600 sf Storage: 600 sf Eating area: 3000 sf +Basketball court
Not Highlighted Health office: 400 sf Admin Suite: 1000 sf Lobby: 500 sf Kitchen: 1200 sf
My personal interpretation of the program centered on the pedagogical function of looping that ECS implements. Given that students stay with the same cohort across all three years, I sought to give them a space they could keep as well. Doing this through clear volumetric distinctions creates a sense of ownership that can be identified from the exterior as well as the interior. The four classrooms are grouped together on two floors around a central homeroom space, which also houses egress and support. This organization helps foster a tight community within each cohort of students. The classroom bars sit perched above the shared spaces, which were intended to be open and welcoming for the different years to interact with each other and the environment. The shared spaces consist primarily of the ThinkLab educational space, and the cafetorium/gym multipurpose space. Both have raised ceilings and few partitions, allowing for connectivity between years. The lower floor opens up directly onto the park and river, providing excellent access for the environmental portion of the ECS curriculum. As is visible in the section on the previous page, the multipurpose space is the central asset of the first floor. Accentuated and central in both plan and section, it is one of the most important spaces in the school. The size allows for basketball games, the seating frames an auditorium from inside and out, and the kitchen services it easily.
page ¡ 53
Doorway next to our studio site.
13.
design intent Throughout my process I have developed the program into four separate but linked categories: learning, playing, making, and showing. These categories become ways in which to organize, define, and shape spaces within the project as well as how the building relates to its external contexts. This intent manifests itself throughout my design in coordination with another key facet of how ECS operates. The pedagogical choice of looping classes keeping cohorts together with the same set of teachers as they progress through their schooling - creates a much more significant bond between peers and mentors. The architecture should pick up on these factors, and create spaces which also foster the same sense of connection and ownership. This section outlines my personal reaction to the project brief, how I’ve deemed to organize spaces, and the conceptual grounding for the project. The diagrams on the following spread outline how the programmatic categories come into play on a conceptual level, and how that leads to a physical organization.
page · 54
design · intent
DETAIL 5B
SCALE: 1/4” = 1’
DETAIL 3
THE SHADING IS A CUSTOM EXTRUSION OF ANODIZED ALUMINUM MODELED AFTER THE VENETIAN “GENIUS” BLIND
THE STRUCT LIKE A LARGE
THIS PROFILE ALLOWS FOR THE REFLECTION OF SUMMER SOLAR RADIATION, THE PROVISION OF INDIRECT AND DIFUSED DAYLIGHTING, GLARE CONTROL WITH TWO-SIDED COATING, WHILE STILL MAINTAINING A VITAL VISUAL CONNECTION TO THE OUTSIDE
MADE UP OF STRENGTH S THE WHOLE ON 6 POINTS THE GROUND
THE UPPER S COLUMNS AN FOR A MORE
DETAIL 4B MECHANICAL SYSTEMS ARE SITUATED WITHIN A RECESS CREATED DUE TO THE SIZE OF THE STRUCTURAL SYSTEM FROM THIS POSITION THEY REMAIN OUT OF SIGHT AND CAN SERVICE BOTH ABOVE AND BELOW
DETAIL 2B RAINWATER COLLECTION ROUTES OFF THE SLANT OF THE ROOF INTO CONCEALED GUTTERS GUTTERS DRAIN INTO THE RAIN GARDEN BELOW AND FILTER THROUGH THE SWALE SYSTEM EXCESS WATER IS COLLECTED IN A CISTERN TO ADD A TIME DELAY BEFORE IT IS PUT BACK INTO THE STORM SYSTEM
DETAIL 3A
SCALE: 3/4” = 1’ TRIANGLE SUPPORT TO GIRDER CONNECTION WELDED STEEL PLATES CREATE A REINFORCED FINGER JOINT TO ANCHOR THE ARMS OF THE TRIANGLE CONNECTION TO THE GIRDER IS ESTABLISHED THROUGH PINS, CLAMPING WITH THE PLATES, AND EMBEDED STEEL RODS TO REINFORCE AGAINST LATERAL MOMENT
DETAIL 6B
SCALE: 1/8” = 1’ OPERABLE PARTITIONS ALONG THE TOP OF THE CURTAIN WALLS ALLOW FOR THE PASSAGE OF THE PROMINENT SOUTH-NORTH BREEZE THROUGH THE BUILDING THE CONTINUATION OF THIS GLAZING INTO RIBBON WINDOWS ON THE INTERIOR PROVIDES A VISUAL CONNECTION WHILE ALLOWING FOR THE PASSAGE OF DAYLIGHT AND AIR
design · intent
page · 55
SHOWING
PLAYING
conceptua
LEARNING
MAKING
Conceptually, the design was developed with the series of overlaps and hierarchies depicted above. Learning takes priority at every stage, but aligning with ECS’s vision, this does not happen solely in the classroom. There are integral pieces of overlap mostly present in the flexible shared program areas of green roofs, Thinklab, cafeteria, and auditorium. These spaces also become the most public, giving the school an opportunity to share their workings with the community, and allow them to access a portion of the resources present. This diagram has translated in a nearly literal way, with the primary learning spaces sitting atop the spaces shared amongst grades and with the community. page · 56
design · intent
STUDIO STUDIO SERVICE
STUDIO
HOME ROOM STUDIO
HOME ROOM
STUDIO SERVICE
HI
STUDIO
NK
3 OUP GR OP LO
LO OP
STUDIO
T
physica
P2 U O STUDIO GR
LAB STUDIO
KITCHEN
STUDIO
AUDITORIU M
1 ROUP G OP LO
HOME ROOM
ERIA C AFET
STUDIO
STUDIO LOBBY
ADMIN
As a more accurate adjacency representation, this diagram depicts how the three loop groups are organized around the shared spaces in a more private zone. They each have one studio which directly integrates with the Thinklab. The kitchen and one service area are also intentionally included in the Thinklab as this space should allow for flexible and holistic learning. The studios are recessed from the entry way, allowing for an easy to implement gradation of public to private.
design · intent
page · 57
The Sidwell Friends School was an inspirational precedent for my ECS design. The way Kieran Timberlake handled the environment and ecological factors is commendable.
14.
aspirations The clients aspirations were generally in alignment with a typical high performing school building, with a couple particularities coming out of the ECS curriculum and ethos. ECS wanted a new campus that was able to take their practices of outdoor learning to a new level. A building that would not just sit in the landscape, but integrate itself into the environment and capitalize on the context for programmatic and educational purposes. They desired a building that would exemplify their ethos of stewardship towards the landscape by integrating sustainable building practices into the design. Not only this, but ECS wanted the building to communicate those principles to the students in overt ways. Two central elements of the program, the ThinkLab and multipurpose space, were to be given significant real estate and contemplation. They were central to the design both for the benefit of the students, and the community. And of course as any client would, they wanted an efficient building both in short term construction and long term maintenance costs. page ¡ 58
aspirations
My desires for this project as an architect, or more realistically an architecture student, were to fulfill the wishes of the client in addition to some elements off of my own agenda. Capitalizing on the intent of this studio and the specific expertise of my studio professor, this semester I was looking to develop a clean and sophisticated structural system. My aspirations from the outset were to integrate a timber structure into a formally unconventional design - and significant effort was put into detailing those concerns. I aspired to both have a clear formal parti and a very resolved building. Achieving both of these at the same time was a challenge, but keeping both in mind throughout the entire process lent direction to my investigations. With this design I aspired to create and organize spaces in a way which would foster community and a sense of ownership with the students. Personal experiences in boarding school and a short time in a looping class in Germany shaped those desires, and gave me some insight into how to best accomplish those. Along with that came the aspiration to create spaces of high environmental quality across the board - not overly favoring one grade over another. Lastly, I aspired to not only situated the building within its landscape and context, but also bring those environmental players into the design itself.
aspirations
page ¡ 59
Sometimes architecture gives the world the finger. It is rarely productive.
15.
confulence of interests In an ideal world all players in a project not only come in with the same aspirations and conceptualizations of the design, but also exit the project on the other side with the same sense of fulfillment pride in the work. However, for better or for worse, there are always complications and discrepancies between and within the interest groups involved. As a conductor of this entire operation, it is imperative for the architect to understand and incorporate the full breadth of players affected by this project. Through implementation of an iterative and participatory design process the architect can ensure the mitigation of conflict, and arrive at a final project which is beyond satisfactory for all parties. The architect must not react as in the image above, our ideas are not without fault and must be confirmed and validated by those who will be primarily affected by the project. Everyone’s interests are not necessarily contradictory, we must however be prepared to navigate this confluence to a desirable conclusion. The three main interest groups are the client, architect, and contractor. This section will attempt to map out those groups, identify their interests and responsibilities, and the next section will propose a method to navigate the process more effectively. page ¡ 60
confluence of interest
Client The ‘client’ is typically the individual or body putting up the funding for the project. In this case, the CEO of ECS and the Board of Directors. While these two parties have a vested interest in the success of the building, the body which is affect most are those who inhabit it on a daily basis. The students and faculty of the school most certainly have opinions on what works for them and their pedagogical model that no one else has access to. Their interests may or may not be at odds with the Board, but should be considered on equal footing. Architect The primary responsibilities of the architect are to collect information, synthesize a design, and ensure the efficacy of the process through construction. We often help clarify and present views which were intangible to the clientel, and translate that into actionable instructions for the contractor. There are areas in which even the architect cannot do this, and to create a successful project the respective experts must be brought in and treated as members of the holistic team. A good relationship with consultants ensures the integrity and plausibility of the wishes of the other three groups. The architect will always have their own interests, but rare is the project where those should be valued above that of the client and community etc. Those obligations will be elaborated on in a later section. Contractor The contractor is responsible for the construction and implementation of the architects design, and the clients desires. Their primary interest is the efficiency of construction, and should work with the architect to ensure the viability of their design regarding the myriad constraints of which the have far superior knowledge. Often the contractor must also oversee the division of skilled labor into various subcontracting groups. This relationship resembles that of the architect and consultant, and should be treated with mutual respect. page · 61 confluence of interest
page · 62
page · 63
Traffic consultant: Ensures that construction runs smoothly without interrupting daily life of community members. From meeting experience, they are one of the most crucial players for community approval. Contractor: Seeking to build as efficiently as possible. A successful project depends highly upon a mutually respectful relationship between them and the architect.
responsibilities / interests
page ¡ 64
Community Board Chair: Responsible for ensuring the project positively impacts the neighborhood, and adds to the social infrastructure. Wants what is best for the community, which is occasionally at odds with the development. Architect and client must seek approval and compromise a collective agreement for a successful project.
confluence of interest
Owners Representative: Calls most of the shots. The owner begins and funds the project, and signs off on all crucial decisions. In the case of ECS, is seeking to meet all of the standards and program requirements set out in the brief - looking for a balance of economy and results. The school should be a benchmark for the rest of Pittsburgh, and must uphold the value system of ECS. Donor: Has a vested interest in the project, in the case of ECS likely little financial skin in the game. Has some authority, but significantly less than the owner.
image as stand in for actual players in the project
City Council Member: Looks to ensure the upholding of city wide guidelines. Has a larger picture of the project in context of surrounding development.
confluence of interest
Architect: Is looking to construct the best project possible, build a portfolio, and affect change. Negotiates most communications, develops design, sees it through implementation.
page ¡ 65
Image of a grasshopper script I used to iterate upon my studio project last semester.
16.
workflow & process The process of design is not unlike a script in Grasshopper, or any other visual coding platform. There are many nodes and stages, feedback loops, returns to previous definitions, refinements, and processes. Each operation performed either synthesizes, refines, or modulates information - developing and working over a set of variables into one comprehensive solution. Similar to emergent systems, well defined by Steve Johnson - and elaborate on by Tom Wiscombe, a set of simplistic information given constraints and rules can begin to create meanings greater than the sum of its parts. For our purposes we can imagine that rule set as a design process that, when structured correctly, can transparent and inclusive of all parties and variables out of which a team of architects can iteratively parse and refine a design proposal. For the successful implementation of this project, the architect should gather insights from the students, faculty, and community members which would utilize the project on a regular basis. This must then be conveyed to the funding parties and combined with their interests. Contractors and the relevant consultants page ¡ 66
workflow ¡ process
should be invited to all appropriate design meetings and reviews, and their opinions considered within their relative scope. If the architect establishes the precedent of successful communication, all the others must do is uphold it. The core design intent and ideas should remain relevant throughout the entire design process, from initial massing to detailing and documentation. For the building to read and function as a cohesive whole all elements and scales must be valued. The diagram below is an abstraction of those integrations, and the drawing on the following spread details my personal process.
funders consultant
level of integration
clientel architect
contractors
community
level of development phase
workflow ¡ process
1
2
3
page ¡ 67
page ¡ 68
Schematic design saw the integration of previously gathered information, and the refinement of initial formal ideas to convalesce with the program into a definitive proposal. Considerations of structure set the design back, material ideas launched it forward again, and thoughts on the detailing warranted reconsideration of previous decisions.
The integrative design workshop brought together all of the players in the project to work out proposed solutions and potential strategies, voice preliminary concerns, and set procedures for the continued development.
Visits to both existing school buildings and the proposed site set a baseline precedent and understanding of context from which the design could evolve from. The predesign phase consisted of fully understanding the program and adjacencies, developing initial massing as a reaction to both site and program, and starting to identify structural and material inclinations.
Project brief issued, requested a proposal which considered the unique pedagogical approach of ECS and embodied the school’s values in its design.
Design can be a messy and convoluted process, and this drawing seeks to depict that while maintaining clarity of players involved at each stage as well as their respective activity. For these purposes, clientele, owner, architect, and contractor have been mapped.
page ¡ 69
The architect and owner will continue to oversee the satisfactory progress in construction.
After DD comes the creation of construction documents in pursuit of a bid. This is the translation of the design intent into workable drawings for the contractor to implement. The project seeks to venture into this phase before its completion.
When drawings are done they can be evaluated and place up for bid. A series of contractors will evaluate them and propose a cost estimate. The lowest bidder will likely receive the contract.
Design development is often the most substantial design phase. Here the initial schematics are developed into workable ideas. Structure and detailing are fleshed out, materials and systems are specified. The project is about to enter this phase.
process work Stage One In the initial design phase we went through several iterations of sketch and massing model to solidify the approach we would be taking for further development. The boards on the left show the results of the first round of iteration. I was experimenting with three different typologies exemplifying one central characteristic; field condition, courtyard condition, and bar condition. I elected to develop the bar condition further as it aligned most distinctly with my initial impressions of the program and predisposed aspirations. I stuck with this approach for the rest of the semester, and didn’t revert to any of the other initial typologies, although I strove to bring valuable sentiments from each of them into the final design.
page ¡ 70
workflow ¡ process
Stage Two Initial thoughts about spatial hierarchies, structure, and systems begin to integrate into a valid proposal. The ideas of a structural table upon which the building is both rested upon and hung off of appear at this point. PANELS PANELS 1 1PVPV
2 2ELEVATOR ELEVATOR
3 3EGRESS EGRESS STAIRS STAIRS
LIGHTWELL 4 4LIGHTWELL
6 6 1 1
5 5BATHROOM BATHROOM
4 4
6 6RAIN RAIN GUTTER GUTTER
1 1
7 7STUDIO STUDIO
SMALL GROUP GROUP ROOM ROOM 8 8SMALL 9 9TEACHER TEACHER OFFICE OFFICE
13 13
BALCONY BALCONY 1010
11 11 POD POD HOME HOME ROOM ROOM
12 12
GREEN GREEN ROOF ROOF 12 12 SKYLIGHT SKYLIGHT 13 13
LIBRARY LIBRARY - OPEN - OPEN STACKS STACKS 1414 1 1
1 1
4 4
6 6
HEALTH HEALTH OFFICE OFFICE 15 15 ADMINISTRATION ADMINISTRATION SUITE SUITE 16 16
The green roofs and main space continue to develop, including ideas of natural lighting and seating. In plan the building gets more resolution, and egress and circulation come into play. CONFERENCE CONFERENCE ROOM ROOM 17 17
18 18 THINKLAB THINKLAB / FLEX / FLEX SPACE SPACE 19 19 THINKLAB THINKLAB
2020 CAFETERIA CAFETERIA / FLEX / FLEX SPACE SPACE
13 13
21 21 AUDITORIUM AUDITORIUM / FLEX / FLEX SPACE SPACE
2222 STAGE STAGE
12 12
1 1 4 4
1 1
2323 OVERFLOW OVERFLOW SEATING SEATING / FLEX / FLEX SPACE SPACE
2424 KITCHEN KITCHEN 2525 SERVICE SERVICE
2626 STORAGE STORAGE
6 6
2727 LOBBY LOBBY
ROOF ROOFPLAN PLAN
PROGRAMMATIC PROGRAMMATICANNOTATION ANNOTATIONKEY KEY
PANELS PANELS 1 1PVPV 2 2ELEVATOR ELEVATOR
7 7
The process of making drawings has always aided me in design - it forces a level of resolution that is often not considered in ideation and sketch. In this way the creation of drawings become integral to the process, and provides checkpoints which one can reference later on. 7 7
8 8
1010
9 9
1010
8 8
11 11
7 7
9 9
9 9
3 3EGRESS EGRESS STAIRS STAIRS
9 9
8 8
11 11
5 5BATHROOM BATHROOM
44
6 6RAIN RAIN GUTTER GUTTER
1 1
3 3 2 2
1 1
7 7
8 8
1010 13 13
LIGHTWELL 4 4LIGHTWELL
66
12 12
SMALL GROUP GROUP ROOM ROOM 8 8SMALL
3 3
13 13
5 5
7 7STUDIO STUDIO
1010
2 2
9 9TEACHER TEACHER OFFICE OFFICE
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BALCONY BALCONY 1010
5 5
12 12
11 11POD POD HOME HOME ROOM ROOM
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GREEN GREEN ROOF ROOF 1212
1010
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LIBRARY LIBRARY - OPEN - OPEN STACKS STACKS 1414
8 8
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66
CONFERENCE CONFERENCE ROOM ROOM 1717 1818 THINKLAB THINKLAB / FLEX / FLEX SPACE SPACE
3 3
13 13
HEALTH HEALTH OFFICE OFFICE 1515 ADMINISTRATION ADMINISTRATION SUITE SUITE 1616
5 5
2 2
3 3
SKYLIGHT SKYLIGHT 1313
9 9
9 9
7 7
1919 THINKLAB THINKLAB
13 13
2020 CAFETERIA CAFETERIA / FLEX / FLEX SPACE SPACE
1313
2121 AUDITORIUM AUDITORIUM / FLEX / FLEX SPACE SPACE
12 12
12 12
8 8 8 8 9 9
7 7
7 7
9 9
1010
7 7
1 1
1010
8 8
9 9
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8 8
2222 STAGE STAGE
1212
9 9
11 11
44
1 1
2525 SERVICE SERVICE 2626 STORAGE STORAGE
7 7
1010
1010
66
FOURTH FOURTHFLOOR FLOORPLAN PLAN
THIRDFLOOR FLOORPLAN PLAN THIRD
9 9
PROGRAMMATIC PROGRAMMATICANNOTATION ANNOTATIONKEY KEY
77
19 19
15 15
2727 LOBBY LOBBY
ROOF ROOFPLAN PLAN
2626 19 19
2323 OVERFLOW OVERFLOW SEATING SEATING / FLEX / FLEX SPACE SPACE
2424 KITCHEN KITCHEN
77 88
1010
9 9
99
1414
1010 88
11 11
99 99
88
77
11 11
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88
99 1010
3 3
18 18 2 2
3 3
18 18
5 5
1010
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1313
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2323
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2020
3 3
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2020
2 2
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3 3
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99
33
33 1313 1212
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2525 2727
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SECOND SECONDFLOOR FLOORPLAN PLAN
99
11 11 99
1010
88
77
88
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11 11
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FIRSTFLOOR FLOORPLAN PLAN FIRST
1010 5 5
22
1212 2020
77 88 11 11
1313
2424
99
88
1010
5 5
22
16 16
5 5
1212
77
88
88
2 2
5 5
22
99
2323
21 21
2525
33
1313 5 5
1010
FOURTH FOURTHFLOOR FLOORPLAN PLAN
THIRD THIRDFLOOR FLOORPLAN PLAN
99
2626 1919
1919
1515
99 1414 33
1818 22
2121
2323
22
2323
2121
2525
2222
33
1818
5 5
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2020
page · 71 2020
22 33
5 5
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1616 1717
1010
EAST FACE BLOCKS SUMMER SUN, ALLOWS WINTER
SKYLIGHT ALLOWS SUN INTO MAIN FLOOR
WEST FACE HARNESSES WIND
TRIPLE GLAZED WINDOWS
PV PANELS
SIPS ROOF
CLT FLOORS
SIPS ENCLOSURE
ANODIZED ALUMINUM MULLION CLT FLOOR
CLT INTERIOR WALLS
SIPS ENCLOSURE
RAISED BED
RADIANT HEAT IN CLT FLOOR
STEEL FRAMED SKYLIGHT
HEAVY TIMBER JOIST
TENSIONED CONCRETE SLAB
CLT FOR CANTILEVER
TIMBER AND STEEL X BRACING
BENCH
HEAVY TIMBER BEAM
CLT MEZZANINE
MASONRY BEARING WALL
HEAVY TIMBER BEAM
HEAVY TIMBER JOIST
RADIANT HEAT IN SLAB CONCRETE SLAB
CONCRETE FOOTING
SCALE 1” = 1/4’
SCALE 1” = 1/4’
SCALE 1” = 1/4’
Stage Three More detailed conceptions of structure and assembly percolate, as well as the spatial and experiential factors resultant from those conditions. The design was advanced through exploration in section and axonometric diagram. In parallel to the more technical concerns, further resolution in terms of materiality and the feeling of particular spaces was developed through renderings.
page · 72
workflow · process
FLOOR 3 + ROOF PLAN SCALE: 1/4” = 1’
SITE PLAN SCALE: 1/6” = 1’
Stage Four At this point I took a step back and returned to more fundamental questions of the overall massing. I reassessed basic choices I had made early that proliferated through the process with little reflection. The form was purified and the plan particularly on the first floor given a more clear central space. This layout had to be further developed to fit code regulations.
workflow · process
page · 73
Stage Five More in-depth study of the structural system and particular connections and details came here near to the close of the project. The basic ideas remained the same, but more resolution was achieved through study of precedent and iteration.
MURUS PUR SIP WALL
MOULION WITH 1” RIGID INSULATION
INNOTECH TILT + TURN WINDOWS
ALUMINUM SUNSHADING
STEEL FIN INTERIOR DRYWALL FINISH
FURRING
COPPER PANEL SIDING
THERMAL BREAK LINE
CLIP ON COVER
COPPER FLASHING
page · 74
workflow · process
Initial sketch of the bar typology I ended pursuing for my ECS design.
17.
proposal The design is articulated as three distinct bars floating upon a separate underlying mass. These bars are extruded east/west for integration of solar strategies, and comprise the complete set of studios, offices, and home rooms for each looping group. Their legibility from the exterior and circulatory separation on the interior let the students clearly identify the space which belongs to them. The shared spaces, excluding two green roofs, all exist on the first floor and mezzanine. Mostly a double height space, this large atrium is conceived as a field condition which blends cafeteria, auditorium, and ThinkLab into one partitionable or unifiable space. The building integrates solar and rainwater collection with learning stations for students to have interactive learning experiences. Structurally, the classroom bars are dimensioned so that when constructed they will act as torsion-boxes, and require little additional intrusive structure. The roof is detailed so that those volumes appear to float, and provide for the cleanly integration of systems into that void. The building uses as much timber as possible for aesthetic reasons as well as environmental, with heavy timber, CLT, and SIPs making up the primary structural systems. page ¡ 75 proposal
page ¡ 76
View into multipurpose space
Render from park facing north west
page 77 View into¡thinklab
How can the building foster a connection and sense of ownership amongst the students?
A-1 A-2 A-3
A-1 A-2 A-3
B-1
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A-4 A-5 A-6
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THREE RIVERS HERITAGE TRAIL
SOUTH SHORE RIVERFRONT
PARK
B
A
S 27TH
ST
COAL PL
SOUTH WATER ST
B-1
SITE PLAN SCALE: 1/16” = 1’
B-2
B-3
B-4
B-5
B-6
B-7
B-1
B-8
BASEMENT PLAN SCALE: 1/8” = 1’ A-4 A-5 A-6
A-1 A-2 A-3
A-4 A-5 A-6
How can the project integrate the particularities of the site with ECS’s mission statement and pedagogy?
DETAIL 6B
DETAIL 5B
SCALE: 1/8” = 1’
SCALE: 1/4” = 1’
OPERABLE PARTITIONS ALONG THE TOP OF THE CURTAIN WALLS ALLOW FOR THE PASSAGE OF THE PROMINENT SOUTH-NORTH BREEZE THROUGH THE BUILDING
THE SHADING IS A CUSTOM EXTRUSION OF ANODIZED ALUMINUM MODELED AFTER THE VENETIAN “GENIUS” BLIND THIS PROFILE ALLOWS FOR THE REFLECTION OF SUMMER SOLAR RADIATION, THE PROVISION OF INDIRECT AND DIFUSED DAYLIGHTING, GLARE CONTROL WITH TWO-SIDED COATING, WHILE STILL MAINTAINING A VITAL VISUAL CONNECTION TO THE OUTSIDE
THE CONTINUATION OF THIS GLAZING INTO RIBBON WINDOWS ON THE INTERIOR PROVIDES A VISUAL CONNECTION WHILE ALLOWING FOR THE PASSAGE OF DAYLIGHT AND AIR
DETAIL 4B
DETAIL 1B
SCALE: 1/8” = 1’ DETAILED VIEW OF INTERACTION BETWEEN CLASSROOM BAR AND STRUCTURE
MECHANICAL SYSTEMS ARE SITUATED WITHIN A RECESS CREATED DUE TO THE SIZE OF THE STRUCTURAL SYSTEM FROM THIS POSITION THEY REMAIN OUT OF SIGHT AND CAN SERVICE BOTH ABOVE AND BELOW
THE SIZE OF THE GLULAM GIRDER ALLOWS FOR THE DISCRETE PLACEMENT OF BUILDING SYSTEMS A CUSTOM EXTRUSION ALUMINUM CHANNEL ACCENTUATES THE SHADOW LINE EVERYTHING ABOVE THE MAIN GIRDER IS PERCHED ON TOP, EVERYTHING BELOW IS HUNG
page · 78 SECTION A SCALE: 1/4” = 1’
B-8
GROUND FLOOR PLAN SCALE: 1/8” = 1’ A-1 A-2 A-3
proposal
How can the building and its grounds be an effective teaching tool? A-1 A-2 A-3
B-1
A-1 A-2 A-3
A-4 A-5 A-6
B-2
B-3
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B-5
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B-8
A-1 A-2 A-3
A-4 A-5 A-6
B-2
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B-1
A-4 A-5 A-6
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REFLECTED CEILING PLAN SCALE: 1/8” = 1’
B-1
B-8
B-2
B-3
B-4
B-5
B-6
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SECOND FLOOR PLAN SCALE: 1/8” = 1’ A-1 A-2 A-3
A-4 A-5 A-6
B-1
B-8
B-2
B-3
B-4
B-5
B-6
B-7
B-8
THIRD FLOOR PLAN SCALE: 1/8” = 1’ A-1 A-2 A-3
A-4 A-5 A-6
A-1 A-2 A-3
A-4 A-5 A-6
How can the sustainable materials and strategies integrate within a cohesive design vision?’ DETAIL 2B
DETAIL 3B
DETAIL 3A
RAINWATER COLLECTION ROUTES OFF THE SLANT OF THE ROOF INTO CONCEALED GUTTERS
THE STRUCTURAL SYSTEM ACTS LIKE A LARGE TABLE ATOP A PLINTH
SCALE: 3/4” = 1’ TRIANGLE SUPPORT TO GIRDER CONNECTION
GUTTERS DRAIN INTO THE RAIN GARDEN BELOW AND FILTER THROUGH THE SWALE SYSTEM
MADE UP OF GLULAM AND HIGH STRENGTH STEEL CONNECTIONS THE WHOLE STRUCTURE RESTS ON 6 POINTS OF CONTACT WITH THE GROUND
WELDED STEEL PLATES CREATE A REINFORCED FINGER JOINT TO ANCHOR THE ARMS OF THE TRIANGLE
EXCESS WATER IS COLLECTED IN A CISTERN TO ADD A TIME DELAY BEFORE IT IS PUT BACK INTO THE STORM SYSTEM
THE UPPER SYSTEM IS ONE OF COLUMNS AND BEAMS, ALLOWING FOR A MORE OPEN FLOOR PLAN
CONNECTION TO THE GIRDER IS ESTABLISHED THROUGH PINS, CLAMPING WITH THE PLATES, AND EMBEDED STEEL RODS TO REINFORCE AGAINST LATERAL MOMENT
DETAIL 1A
SCALE: 3/4” = 1’ CUSTOM STEEL CONNECTION SECURES COLUMNS TO CLT SLAB ENSURES LOAD IS TRANSFERRED AND PREVENTS SAGGING CONSTRUCTED OF HIGH STRENGTH CAST STEEL AND PINS
DETAIL 4A
DETAIL 2A
SCALE: 3/4” = 1’ A COMPOSITE GLULAM BEAM WITH A STEEL PLATE CONNECTION RESISTS MOMENT, ALLOWING FOR THE OMISSION OF DIAGONAL BRACES
SCALE: 3/4” = 1’ HIGH STRENGTH STEEL BEAM CONNECTION PLATES ARE WELDED INTO A FORK AND ATTACHED THROUGH A REINFORCED FINGER JOINT TO THE GLULAM BEAM
THE PINS LAP ALLOWING FOR MULTIPLE BEAMS TO MEET AT ONE COLUMN
THE STEEL CONNECTORS ARE ANCHORED TO A PIVOT WITH A PIN CONNECTION ALLOWING FOR SOME MOVEMENT AS NEEDED GROUND CONNECTION TO CONCRETE PILE ANCHORS
proposal SECTION B SCALE: 1/4” = 1’
page · 79
TESLA SOLAR SHINGLES 6” RIGID XPS INSULATION CUSTOM EXTRUSION ALUMINUM GUTTER FURRING BEAM/COLUMN MOMENT CONNECTION GLULAM COMPOSIT BEAM CUSTOM STEEL CONNECTION 9-LAYER CLT PANEL ALUMINUM EXTRUSION “GENIUS” SHADING
KAWNEER HIGH PERFORMANCE CURTAIN WALL
6” X 6” GLULAM COLUMN 9 LAYER CLT PANEL GLULAM JOIST
4.5’ GLULAM GIRDER
STEEL CONNECTION PLATE CUSTOM EXTRUSION ALUMINUM CHANNEL 6” RIGID XPS INSULATION
DROP CEILING ALUMINUM CAP 6 LAYER CLT PANEL
FURRING RHEIN ZINC CASSETTE SIDING PANELS 6” RIGID XPS INSULATION 2X6 BLOCKING ALUMINUM EXTRUDED WINDOW FRAME
INNOTECH TILT+TURN WINDOWS 6” RIGID XPS INSULATION 6” RIGID XPS INSULATION 1’ CONCRETE SLAB GRAVEL
EXTENDED SLAB GRAVEL CONTINUOUS CONCRETE FOOTING
COMPACTED FILL
6” RIGID INSULATION
EARTH
PILE ANCHOR
View to downtown from greenroof
View into building from greenroof
page · 80 View into model classroom
View to occupiable hallway
The project is oriented towards the neighboring green space on the west. A clear directionality is achieved through an elevational strategy which places solid walls and private spaces along the more urban east and south edges, while allowing the north and west facades to be nearly entirely curtain wall. In this way the building, particularly on floor one, appears to open out onto the park and blends interior and exterior space with features such as a large sliding partition integrated into the curtain wall assembly. The interior and exterior grandstand stairs create a spatial dialogue which accentuates this notion, as well as serving a beneficial programmatic concern. The multipurpose space is depressed to a datum of about 7 feet. Doing so is advantageous for several reasons; it gives the space a significant clear height of around 26 feet for sporting functions, emphasizes the space in section, and allows for the creation of a dialogue with the exterior landscaping which slopes down into a rain garden and integrated auditorium seating. Solar and rainwater collection became the driving ecological pursuits for the project. Active solar strategies were integrated as a net metering system with building performance monitors so students could engage with the technology. Passive solar strategies were pursued through the integration of double facades in places, and significant development of shading systems modeled after the “genius� venetian blind profile. Rainwater collection was incorporated through the discrete integration of gutters and channels into the roof system, which fed into the rain garden on the building grounds. Four separate green roofs also serve to slow down rainwater dispersion, and act as their own teaching and social spaces.
page ¡ 81
Image of the parliament protests. Ethics are a social concern.
18.
ethical positioning In Negative Dialectics Theodor Adorno makes several statements about philosophy which ring true in application to architecture, theory, and ethics. He writes about the relationship between philosophy and praxis. Philosophy is still necessary, according to Adorno, because its end goal of ensuring an ethical society has not yet been met however praxis now serves as a pretext for shutting down theoretical critique rather than challenging philosophical theory. He asks how is philosophy still possible? I would argue we are at a similar point in our field. Theory serves a purpose and is imminently relevant for guiding us in the right directions. Among many other shortcomings, without such discourse we have to base our ethical decisions solely on practical professional standards. They can stand on their own, but without the crucial continued reflection and discourse around them they stand hollow and are easily blown over. Perhaps it is time for some of us to follow the example of the student in Parliament Square above, and provoke the unavoidable and undeniable discussion about how our profession should operate - holding all equally accountable. page ¡ 82
ethical ¡ positioning
Regarding this project specifically, the following section will outline the general approach and the obligations to various constituent groups.
Staroměstské-náměstí is one of the most well known public spaces in Europe. The central square in Prague is always occupied, regardless of the time of day, weather, or function. It is this informal activity that makes a public space truly joyful, and regrettably something that architects struggle deeply to create. The buy in has to come bottom up, not just top down.
Obligation to the public The design for the new ECS building will adhere to all and exceed most standards set by the U.S. Department of Education. It will promote the safety and well-being of the public by providing a secure space with beneficial environmental conditions - both indoor and outdoor. In this project these objectives are achieved by a careful structuring of facade. A more solid massing faces the urban edges on the east and south, and the building opens up to the surrounding greenery with a large curtain wall to the east and north. Carefully designed shading devices and operable windows create pleasing natural lighting and ventilation conditions throughout the building. The school will promote the public interest by serving a community in need of another school, and including spaces designed for wider public usage. The multi ethical · positioning
page · 83
purpose space specifically is intended for use by the wider community during off hours. The organization of the program allows for easy segmentation and security of the classroom spaces from the public spaces and entry on the first floor. The design and construction process will be fully transparent, as well as the finances and contracts. The site is located out of the main traffic areas, and has space adjacent that can be leased out temporarily for construction. As such, the construction of the school building will have little effect on the operation of the neighborhood, and the site will be put to a much more powerful (in terms of social infrastructure) use than the hospitality function it is currently zoned for. The project maintains a relatively low profile, and will preserve the view to the river and the hills beyond. In accordance with Ethical Standard 2.1, no laws will be broken during this process. Obligation to the client Nested within the obligations to the client are two factions, both of which the architect must support in their operation. The architect must maintain an honest and open relationship with the funder, all communications will remain transparent and accessible. The integrative and participatory design approach will ensure that no other interests are being upheld, that the client has access to all niches of expertise, and that they are receiving the best project via confirmation from all parties. The clientele is equally as important, and by nature of possessing less agency the architect has an even higher obligation to this group. As the primary inhabitants of this project, the students and faculty will have direct input within the design process. The surrounding community will also be engaged to ensure the positive reflection upon the client. A rigid schedule will be upheld, and all phases delivered on time and on budget. page ¡ 84
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Filtered image of ECS
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Filtered image of RIBA headquarters
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ethical ¡ positioning
All of the clients initial desires and specifications have been fulfilled or surpassed. Intelligent usage and distribution of space has allowed for a massing strategy that provides ample exterior space catering towards the unique nature of ECS’s pedagogical program. The structure has been designed to minimize members and optimize construction - thus reducing the initial cost. The use of prefabricated wall panels provides ample insulation and ensures a tight construction to improve future building performance, and reduce maintenance costs. In accordance with Ethical Standard 3.1 and rule 3.103 all alterations to the project brief will first be discussed with the client. Following rule 3.301, the process will be transparent and the client will not be mislead. Obligation to the profession The project aims to be a benchmark for all of the future school developments in Pittsburgh. High standards of ecological and human centered design will be upheld for future projects to aspire towards. The usage of carbon sequestering materials will set standards for the future of our professions obligations to the environment and the public. The school innovates in several areas, providing precedent for future development. In particular, the use of a multi-faceted timber structure, integration of rainwater collection, and efficacy of multi-use spaces. The design will uphold International Building Code standards, and will meet all safety requirements. The integrative and participatory design process will ensure a favorable perception of the architects, and advocates for the honest and truthful standards towards which all architects should strive. In accordance with Ethical Standard 4.2 the dignity and integrity of the profession will be upheld through a respectful and rigorous design ethical ¡ positioning
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process. All work is personal and original. Obligation to the colleagues All parties involved will be fairly compensated for their time and effort. Throughout the process the opinions of all interest groups and parties involved in the design will be heard and respected. The development will be team based, and power structures will be respected but not abused. The contractors and consultants will be treated fairly and respectfully. A suitable working environment will be maintained for all positions, from interns to laborers to principles. All participants will be fairly credited. Considering the project in the context of Studio, these obligations will be upheld towards my peers as well. The members of the studio will foster a communicative and mutually beneficial discourse withing the group. We will not sabotage each others work for personal gain, and will instead seek to better the collective work through sharing of resources, information, and ideas. The environment will be supportive and welcoming for all parties in accordance with Ethical Standard 5.1. Obligation to the environment Environmental strategies are a primary concern for the new ECS building. The design focuses on passive strategies as a long term cost saving measure, and active strategies as learning opportunities. The east/ west orientation of the classroom bars allows for ideal solar exposure and maximum efficacy of passive ventilation and thermal regulation systems. The integration of shading devices on most windows (all south facing) reduces heat gain while allowing natural lighting of the spaces. The adaptation of the “genius” page · 88
ethical · positioning
Depth of River Sanitary Sewer Other Sewer Pipe Topo Line Site
bathymetry
flood levels
Public Park Bus Stop Bus Route Train Bike Trail
st Bus Stop do ose Do Cl w
Cl o
5 ft 53
—
—
17
wa lki ng
81 4
1
—
m in
in walkin 2m g
—
2
min walking —4 —
y ar ibr tL ses Clo
e lC ca di Me st se Clo
nt er
—
transit
Mass Parkin st g se
n ow nt
Public Boat Ramp
ft
On Street Biking Route
247 6 ft
ft 010 Clo m —3 sest in lking FBI Offi wa ce — 15 min wa lki ng —3 071 ft
amenities
air pollution
summer shading
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winter shading
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Filtered image of Betsy DeVos
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venetian blind profile minimizes thermal gain, while maximizing diffuse light and maintaining optimal viewing angles. The timber structural system was chosen secondarily for aesthetic reasons, primarily for its ecological impact. Timber is the most sustainable building material, and this project aims to be a precedent for future construction using timber, CLT, and SIPS. The prefabricated nature of many of these elements will reduce construction waste, and on-site labor costs. The integration of greenroofs provides valuable outdoor learning space, rainwater collection, and thermal regulation. The project integrates several landscaping methodologies to reduce runoff, increase shading, and activate areas for food production. The rain garden on the west edge of the property blends the adjacent green space into the site, while passively cleaning and slowing down runoff and providing an exterior viewing and learning space. Active strategies such as solar panels and micro wind turbines will be used to supplement the energy costs of the building in a net-metering system. These elements, along with all of the passive systems, will also serve as educational tools - teaching future generations how to be stewards of our environment. In accordance with Ethical Standards 6.1 and 6.3 this project will incorporate and promote sustainable building practices throughout the design and construction phases. Project specific obligations The projects program also elicits certain obligations. The design of the school will promote progressive educational values, and effective pedagogical practices such as project based learning and grade looping. The project will set standards for the integration of these practice with the built environment, and strive to be ethical ¡ positioning
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an example of how architecture can affect more effective learning. The school will adhere to all and exceed most standards set by the U.S. Department of Education. The building itself will promote learning through integration of systems oriented towards usage as teaching tools. The organization of the building fosters a sense of ownership withing the students and faculty, while still maintaining opportunities for gathering and communal interaction. The project also embodies obligations to the site. Our location in the riverfront zone of South Side Works is a high value location, and we are fortunate to have received this parcel. The building will uphold the particular requirements of hight limitations, material choices, and preservation of sight lines as set forth in the specially planned district guidelines. The design responds to the existing riverfront park, and anticipates the creation of a forested area towards the west of the site. The areas of the site blend together, and the relative height of the building fits in with the already established datum. Throughout the project I, as the designer, am obligated to give my due diligence to the process. Constant experimentation, simulations of performance, and iteration of design is required to ensure the optimal outcome towards all of the interest groups listed above. I am obligated to incorporate all of the strategies and methodologies the studio has equipped me with to produce the best result possible. Hierarchy and Positioning It is difficult but necessary to establish a hierarchy within the aforementioned obligations. Ideally they area all considered equally, but given the constraints of any given project some must be given precedence. The positioning
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I have identified for the ECS proposal is as follows: 1. Obligations to the Client 2. Obligations to the Public 3. Obligations to the Environment 4. Obligations to Colleagues 5. Obligations to the Profession The client must come first, in nearly every project. Without the client’s consent and approval it will not move forwards. Architects create art, but also provide a service, and none of it would happen without the support of clients. Closely following this are the obligations to the public. A project of this scale and program has immense impact on the public. This must be understood and valued accordingly - the building will affect peoples lives in many more ways than an architect can predict. It is our charge to anticipate as many as possible, and design for a project’s long and venerable life. ECS places great value on the environment, and our profession must increasingly do the same. The hallmark of the next architectural era will be combating and mitigating the negative effects of previous decades of building unsustainably. We must all be stewards of our environment. Professional and collegial responsibilities come last. Your colleagues and collaborators must be treated well, but this is not an aspirational goal, this should be fundamental to any practice or project. Lastly, it is my belief that if you are serving the first three obligations well, you are upholding your obligations to the profession.
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Random walker script. It moves a certain step in a random direction, creating an incomprehensible sequence of undirected movement.
19.
path to implimentation The path to implementation of a design can often be complicated and incur many setbacks. The process itself is linear and relatively simple, however, each check point has contains the possibility of regression and the work done in-between can feel questionably productive. Like a walker script though, regardless of the complications one must keep moving forwards taking the turns as they come and keeping the goal in mind. The following drawing outlines the sequence of steps through which a project must pass to follow through until completion.
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implementation ¡ path
implementation ¡ path
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implementation ¡ path
implementation ¡ path
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Image of Tepper Quad under construction.
20.
collaborators Such a project cannot be accomplished alone. There are countless collaborators along the way that must be confided in and counted upon. This section will further outline who those players are, where their interests lie, and what the relationships consist of. The implementation of the integrated and participatory design process are crucial to the success of the project. The primary agreements are as follows: A101 - Owner / Contractor B101 - Owner / Architect A201 - General construction C195 - Integrated Project Delivery C401 - Architect / Consultant A401 - Contractor / Sub-Contractor Collaborators were selected chiefly for their expertise in specific areas of interest. Other factors were their ability and experience working in a collaborative environment with large teams, and their proximity to the project site.
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collaborators
Community : The council and unaffiliated members of the community are integral to the project. They will provide insight, funding, and approval which the process needs to move forward. They have a vested interest in the project as it relates to their neighborhood and their children’s education
Client: The client, in our case specifically the CEO and business manager of ECS along with their Board provide most of the funding and are licensed to make the critical decisions. They seek to convince the community of the value of the project. They are driven by monetary factors, as well as altruistic visions for the project - ideally with no conflict of interest. Contractor: The contractor is responsible for the construction of the project, and the smooth operation of that process. Their primary motivation is financial, but a good relationship will with the architect will keep quality high.
City: In order to move forward with the project the architect and owner must convince the city of its worth. They consider the holistic benefit of each project in a direct meeting with the team, answering and posing questions constantly.
Architect: The team of architects presents their work to the Committee. They seek to convince all other players of the worth of their design, and make sure the project moves ahead. Their primary interest is fulfillment of a project which satisfies their creative and monetary priorities, but also considers their obligations to other constituencies.
collaborators
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collaborators
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key players Contractor | Mosites Mosites was selected as the general contractor for their experience in multiple project delivery typologies. They are used to collaborating closely with architects and the rest of the project team throughout the entire process. With significant experience constructing educational buildings, they were the clear choice. Structural Engineer | ARUP The structure in this project was one of the key design points. To ensure its efficacy and elegance ARUP was selected as one of if not the leading structural engineering firm world wide. They will work closely with Nordic Structures to design and fabricate the mass timber structure. Timber Structure | Nordic Structures Nordic is a leader in engineered lumber. They are experienced in both fabrication and design, and will be an integral participant in the design process. They will work closely with ARUP and Cast-Connex to solve the structural concerns. Sustainability Consultant | Atelier Ten Aetelier Ten has proven themselves by making ambitious designs sustainable. They were selected for their commitment to intelligent buildings and their conception of architecture as part of a wider environmental system. Landscape Architect | Andropogon Andropogon is committed to designing “with” nature. The create beautiful and functional landscapes which integrate with the built environment. They were selected to develop the key feature of the exterior ampitheater and rain garden. Educational Consultant | PulsUs Central to the success of a school is the design of the learning environments. To assist with this PlusUs was selected for their experience and design-thinking based approach to environment design. They understand how a space can support or hinder a pedagogy, and work to create supportive spaces for students and teachers. collaborators page · 103
I was the booth chair for Sigma Phi Epsilon this year. One of the most challenging and most rewarding efforts I have ever undertaken. It required great coordination between a group of mismanaged people.
21.
justification The team selected to carry out this project is one of individual specialists. Understanding the architect’s role as a “master conductor” it is our job sitting at the nexus of the network to coordinate all of the different players and direct the project towards the desired outcome. Each player selected has immense experience in their particular field, and that partitioned knowledge is brought together and shared with the rest of the team (and the public) through a participatory and integrative design process. This process promotes a sense of transparency and honesty throughout the involved parties, and serves to foster an environment where all opinions are heard and respected. Such a process is proven to create a holistically more sound end product as well as improve the overall moral on the project team. Each constituent group is able to bring their own desires and concerns to the table, shedding light on important issues from a multitude of perspectives. The team is made up of experts in very specific fields, and their sovereignty in those domains will be understood and respected. Players like Nordic Structures are page · 104
justification
leaders in their field, and were chosen because of the projects specific ambitions in those areas. Many of those involved will have worked together in the past, and have also been chose for that reason. A familiar team can hit the ground running and spend less time acclimating to a new working environment. Most of the members also have experience practicing in this region and/or on this type of project.
+client
+architect
+consultants
outcome
justification
+contractor page ¡ 105
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co
ommission page ¡ 107
Image of the confluence drawing workshop.
22.
project timeline In order to glean a better understanding of the intricacies of professional practice our cohort was tasked with the design and detailing of a custom piece of hardware. The initial concept was inspired by the idea of confluence, a process of emergent form-making which we emulated through a design charrette. Using this methodology we were able to develop a seamless chain of pieces which flow into one another, creating a cohesive whole out of individually developed components. Partners were randomly assigned, simulating the realities of collaboration in professional practice. Our piece, #42, occurs towards the end of the chain. The exercise began at piece #1 - the respective groups took the curves of the preceding piece and extrapolated their design moving down the chain in this fashion. Using tangents, overlaps, and reveals we highlighted the particularities of the piece before ours, and then invented a design with those same considerations for the second half. Considerations for the design were made using two noteworthy precedents. At the time we understood the concept of confluence largely in relation to the behavior of braided rivers. Occurring when a threshold page ¡ 108
timeline
recieve project brief 4.10.19 brief assigned by prof. Folan in EaP class
in class design workshop 4.10.19
all students participate in confluence design workshop
trace and refine sketch 4.16.19 initial ideation sketches refined and traced in AutoCAD
drawings reviewed 4.17.19
teaching team reviewed drawing submisison
revise drawings 4.18.19
all students revised drawings based upon feedback from teaching team
drawings submitted to McKamish 4.20.19
resubmit construction drawings 4.19.19
final construction drawings submitted to teaching team
teaching team submits final drawings to McKamish
fabrication begins 4.22.19
McKamish begins fabrication at their lawrenceville facility
site visit to McKamish 4.24.19 half of the cohort visits McKamish at their facility
fabrication finishes 4.26.19 component fabrication wraps up
components delivered to CMU 4.29.19 confluence pieces arrive at cmu campus
components finished 5.6.19
components cleaned and coated
installation 5.8.19
confluence installed in the SoA office
timeline
evaluation
page · 109
Image of the confluence drawing workshop.
23.
ideation In order to glean a better understanding of the intricacies of professional practice our cohort was tasked with the design and detailing of a custom piece of hardware. The initial concept was inspired by the idea of confluence, a process of emergent form-making which we emulated through a design charrette. Using this methodology we were able to develop a seamless chain of pieces which flow into one another, creating a cohesive whole out of individually developed components. Partners were randomly assigned, simulating the realities of collaboration in professional practice. Our piece, #42, occurs towards the end of the chain. The exercise began at piece #1 - the respective groups took the curves of the preceding piece and extrapolated their design moving down the chain in this fashion. Using tangents, overlaps, and reveals we highlighted the particularities of the piece before ours, and then invented a design with those same considerations for the second half. Considerations for the design were made using two noteworthy precedents. At the time we understood the concept of confluence largely in relation to the behavior of braided rivers. Occurring when a threshold page ¡ 110
ideation
of sediment level or slope is reached, braided rivers are often found in or near the deltas of larger bodies of water. Characterized by a splitting and reconvening of multiple interweaving channels, these types of rivers exhibit the idea of confluence much in the way we wanted to mimic. Edited image of a river delta in Iceland. The river braids and didivides, recombines, and flows.
From this we drew the inspiration for the character of line and the nature of the whole. The second precedent was more related to material and fabrication strategies. The Pausch Bridge on campus was fabricated using similar techniques, and we sought to understand those and create a similar aesthetic for the perforations that would occur on our piece.
Image of the Randy Pausch MeMemorial Bridge. The materiality and fabrication of the bridge were similar to our project. The penguin holes were of particular inspiration.
ideation
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Image of the AcuKut plasma cutcutter cutting our pieces out of stock sheet metal.
24.
fabrication Once the design of our component was finalized, I traced the sketch in Rhinoceros 3D. The resultant closed nurbs curves were then imported into AutoCAD to assign have the appropriate layers assigned and the technical documentation detailed. Using the template B for the upside-down component layout, the drawings were compiled and submitted. The finished drawings were reviewed by our professor and the teaching assistants, who identified several faults in our drawings and sent them back for another round of revisions. The class had as a whole misinterpreted the prompt, and most groups had copied exactly the design of the previous piece where the overlap occurred, instead of using it as a guide for a design which flowed from it using the principles of convergence outlined in the previous section. The continual revision of drawings due to changing client expectations, budget constraints, material limitations, and other unexpected situations is an inevitable reality of professional practice. It was an unforeseen but predictable occurrence which was used as a teaching moment. page ¡ 112
fabrication
Once the drawings had been approved they were compiled by the teaching team - John Folan, Garrett Rauck and the teaching assistants - and sent off to McKamish. McKamish is a full service mechanical construction company. They began as a specialized sheet metal contractor, but have now expanded into many different areas, their capabilities range in scale from the small size of our components to massive supporting structures for theme park rides and observation decks. McKamish’s current largest client is the amusement industry.
45°
45°
MAX OVERALL PLATE WIDTH 5 1/2"
1/2"
1'-1"
1/2
"
MIN. CUSTOM CURVE BOUNDARY, TYP. FIXED CUT, TYP.
1/2
" HYPOTHETICAL CUSTOM CURVE
MIN. CUSTOM PROFILE BOUNDARY, TYP.
23 1"
ALIGN
P.
TY
/4"
MAX OVERALL PLATE LENGTH 1'-0"
8"
BOUNDARY REGION FOR CUSTOM PROFILE
FIXED CUT
FIXED CUT
2"
90° BRAKE UP
90° BRAKE: DOWN FOR COMPONENT TYPE A UP FOR COMPONENT TYPE B 1"
KEYNOTES: 1. 1/8" THICK STEEL PLATE 2. HOMASOTE WALL COVERING 3. CMU SOA ULINE HARD HAT
P R O T O T Y P E PLATE PART LAYOUT SCALE: 6" = 1'-0"
42 PLATE PART LAYOUT
COMMISSION
17 APRIL 2019 DRAWN BY: CE&VG
SCALE: 6" = 1'-0"
The pieces were submitted in three ways, a cut sheet laid out for the plasma cutter bed, a preview of the final assemblage, and a collection of the individual pieces. In this way our cohort, acting as the architect in this situation, did the most we could to streamline the fabrication process. We took over the job often given fabrication
A100
CM U S C HO O L OF A R C HI T E C TU R E
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to a Detailer - saving us and McKamish a significant expense. Detailers will often charge around 500 USD per drawing, a costly expense for something that can often be done in house. Terry Tumulty Sr. demonstratdemonstrat ing how the software functions.
Despite all of our preparations, there were still significant edits that McKamish had to execute before sending the job to be cut. The shop manager and foreman - Terry Tumulty Sr. - was the individual responsible for setting up the cut file and making the necessary corrections. He remarked that the individual line work was better than in previous years, leaving little correction to be done in AutoCAD. The annotation, bend line, and part number layers had to be turned off, and the two burn layers separated. However, the nesting wasn’t quite ideal. Terry imported the individual components into ProNest, an industry leading part nesting software made by Hypertherm - the manufacturers of the plasma cutter firmware 6" 6" which McKamish uses. This software optimized the TYP TYP
2
COMP. TYPE A COMP. TYPE B
2
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4
6
8
10
12
14
16
18
20
fabrication
22
layout as well as programmed and ordered the cuts to minimize travel and cut time. It spaced the pieces with the minimum cut tolerance of roughly .08 inches, with a thicker piece it could have required up to .125 inches of space. To ensure the best quality of cut, the software was told to maximize the cut length on the right side of the flame. After Terry Tumulty Sr. was finished programming the cuts, he exported our files to an internal server which the plasma cutter also has access to. This process closely resembles that of a CNC router, where the digital line work is translated into a set of x-y-z coordinate inputs for the machine. Due to the complicated nature of our line work, our cut file amounted to over 65,500 pages of coded information. Down on the floor Nick Clemente, the plasma cutter operator, accessed these files and loaded them onto the AKS AccuKut system which McKamish has been using for many years.
Image of the AcuKut plasma cutcutter cutting our pieces out of stock sheet metal.
22'-0"
24
26
28
30
32
34
36
38
40
42
44
45 3 TYP.
fabrication 2
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1
Our material was 12 gauge structural low carbon steel with a 50,000lb stress capacity. McKamish typically keeps 14 gauge to 1 inch thick pieces of plate steel in stock, so our material likely had to be ordered specifically for this project. Nick Clemente initiated the machine and prescribed the mix of the 4 different gases and compressed air that were to be used to cut our pieces. Test cuts were then made running the AccuKut system at 180 inches per minute and 80 amps. The AccuKut system can handle a range of power from 30 amps to 260 amps, as our stock was relatively thin compared to a more typical job McKamish would process, we stayed on the lower end of this spectrum. These settings ended up causing a concerning amount of jarring and warping of the stock, and so adjustments were made. The final settings used to cut our components had the system running at 150 inches per minute, 45 amps, and supplemental nitrogen as an additive for a smoother cut. The entire cutting process took about 3 hours.
5'-0"
10'-0"
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fabrication 0
1/2
1
CNC PLASMA CUTTER P A R T L A Y O U T SCALE: 1 1/2" = 1-0"
22 APRIL 2019 DRAWN BY: GTR
COMMISSION
FX100
Despite the experience of the workers and the tests of the system, the final pieces came out quite rough. The amps were likely still set too high, and the slag which normally is blown off the piece or barely attached was melted in to the back side of each component. This meant that extra time, effort, and money had to be poured in to this more or less pro-bono job in order for a satisfactory product to be delivered.
The pieces did not always come out as intended. Some did not cut all the way through (pictured here) and some were cut too fofo cefully.
Nick Clemente, the McKamish employee tasked with cutting out pieces, was also responsible for correcting the issues with the plasma cutter results. He spent 11 hours grinding the slag off of each component, and 3 additional hours fixing the edges which had been rendered too sharp. This regrettable outcome came at significant cost to McKamish, they lost out not only on the labor involved in fixing our pieces at no charge, but also on the time Nick could have been working on another project. The next steps in the fabrication process were the metal brake and offset die deformation operations. The design of each piece was uniform in the locations where the brake was to be performed, so a jig layout could be programmed into the AccurPress 725012. This sped up
fabrication
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the production, and ensured a clean and uniform brake across all pieces. The McKamish employee performing these operations was Ian Young, who fed each piece in manually to the 250 ton hydraulic press. To complete the necessary 90 degree brakes, a force of roughly 8.1 tons per lineal foot of workpiece was exerted to bend our piece of 12 gauge steel. Again, we see our small commission acting significantly under the limit of what these machines can achieve.
Ian Young using the AccurPress to complete the brake operation on our components.
The offset die deformation was unable to be done with a jig setup due to the irregular nature of the arms of each component. This meant that Ian Young had to line up each mark with the die by hand on the second AccurPress machine. The results of a more human process were easily seen on the final pieces. Each brake operation was nearly flawless and standardized across each piece, the dies on the other hand were slightly offset or not quite square on the majority of the pieces. At this point the work at McKamish’s facility was complete - aside from the aforementioned corrections to the plasma cutting imperfections - and the pieces were delivered back to Carnegie Mellon University to be finished and installed.
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fabrication
machine details
The AKS AccuKut system offers unparalleled accuracy, rigidity, and stability. It is equipped with Hypertherm SureCut, a comprehensive system which optimizes performance through integration of power supplies, CNC & CAM software, and active sensors. The whole system consists of a free standing operating console, downdraft table, cutter head, and power supply. AKS specifies that its system can cut stock up to 8 inches thick, however that may be for a newer model McKamish said they typically cap out at 2 inches. The plasma cutter operates by forcing a concentrated mixture of 4 different gases through a nozzle with high
fabrication
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pressure compressed air and ionizing it with extremely high ampere electricity, resulting in a laser-like beam of plasma at around 40,000F which melts the metal and blows it away in the same process. The AccurPress 725012 is a hydraulic press equipped with a CNC back gauge and ram. The 75012 can exert up to 250 tons of pressure, allowing it to bend stock up to an inch thick. The machine can run in manual, or with a computer guided jig. For the brake operation on our pieces it ran with a jig, for the offset die Ian ran it in manual. The drive motor runs with 20hp, but also has adjustable speeds from 19 to 65 inches per minute.
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fabrication
25.
Image of the left over stock after our components were cut.
product Upon receiving the components on campus we set about the process of finishing and installing them. The pieces were cleaned of slag and the edges were broken, but some additional measure had to be taken to ensure adequate durability and minimize future maintenance. The polyurethane coat was applied after the cleaning of the pieces in the Architecture Wood-shop. The class gathered there to comcomplete these on Monday 5.6.19
As a group we each took our individual components and cleaned whatever marks or imperfections existed off of the piece using rags, water, and alcohol. Particular care was made to remove all traces of the chalked part number markings. To prevent corrosion we sealed each piece in a top coat of Varathane Polyurethane. This thin layer of matte product
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varnish would prevent any moisture from reaching the steel and creating a layer of rust. Our basic plate steel is not, like Corten Steel, intended to rust - rusting would have caused a mess in the installation location, caused structural issues, and been a hazard to the users of the project. After allowing the components to dry and cure for 48 hours, we were able to prepare them for installation in the School of Architecture Offices. The installation process was lead by John Folan and Garrett Rauck, who took point to insure the quality and speed of installation. The first step was to gain an understanding of the composition of the wall our components would be attached to. + structural terracotta tile
+ mortar layer
+ drywall sheathing + 1/2� thick
+ homasote board cover + 1/2� thick
Looking into it, the teaching team determined that the north wall of the main SoA office space in CFA 200 was comprised of a half inch homasote board, anchored to a structural terracotta tile through a half inch drywall sheathing layer. In order to properly anchor through these materials, a particular fastener assembly was specified and ordered. page ¡ 122
product
The assembly is as follows, diagrammed in the image below. A #10 Black Oxide Phillips Round Head screw, anchored into a twist resistant block anchor. The block anchor was necessary as the terracotta tile was not an ideal material for the screw to anchor itself into. A 1/2” long by 5/16” diameter urethane spacer was used to prevent the screw from compressing the soft homasote, and a 3/1” diameter black oxide fender washer was used to apply pressure on the components. + twist resistant block anchor
+ black oxide fender washer + 3/4” diameter
+ urethane spacer + 5/16” diameter + 1/2” long + black oxide phillips round head screw + #10, 2.5” long
First, a line was dropped and leveled at the appropriate height (approximately 6.5 feet). A string was tensioned between both ends, and then incrementally shortened as each piece was installed. Great care was taken to keep the line level, as a small mistake would exponentially manifest itself down through the sequence of pieces. The first component to be installed was numerically the last in the sequence of confluence - #45. It was held into position on the line, then the locations where the screws would eventually be inserted were marked on the homasote. The piece was removed, and a DeWalt Electric Hammer Drill was used to pre-drill a hole for the block anchor into the terracotta structural tile. Due to bit specifications and limitations a two step process was necessary. The first hole was then widened to the diameter of the block anchor with a larger bit using a Makita 20v drill. product
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Our professor John Folan, who was doing most of the installation process, then tapped the block anchor into place with a small hammer. Resetting the component, he then slid the spacer and the fender washer over the screw. The whole assembly was then driven into the wall using the same Makita 20v drill - keeping sure the entire time that the piece was level and the screws were pulling flush. This process was then repeated continuously for each of the 45 components of the confluence. Moving backwards, each preceding piece sat in front of the following one due to the offset die deformation, and both were anchored using the same screw. This required more careful alignment of pieces before attachment.
Image of John Folan using a DeWalt HamHammerdrill to predrill the holes for the installainstallation of Confluence.
Prior to installation there were some concerns regarding the nature of the structural terracotta tile that made up the anchoring substrate for the assembly. If we were to drill into the mortar between tiles the block anchor may not be as secure as necessary. Luckily, this never occurred and only minor issues appeared during the installation process. The 20v drill needed to be recharged at some point, and the homasote was so flaky that excess often had to be scraped from the perforations with a screw.
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product
+ structural terracotta tile
+ predrilled hole + component #42
+ drywall sheathing + 1/2� thick
+ fastener assembly
+ mortar layer
product
+ homasote board cover + 1/2� thick
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Our components drying after the application of the polyurethane coat.
26.
documentation McKamish put this project through as a favor to us, in service of their good relationship with our professor John Folan. We did not have access to the actual billing, but using what we know of how the project was executed we can do a rough calculation of the expenses McKamish faced. Material Cost 1 4’ x 8’ sheet of 12 gauge low carbon steel...
...$100
Labor Cost 4hrs Office labor preparing drawings... 2hrs preparing sheet metal for cuts (union rate)... 3hrs cutting components on plasma... 2hrs doing brake and die operations (union rate)... 11hrs cleaning slag... 3hrs breaking edges...
...$160-200 ...$160-180 ...$150 ...$160-180 ...$550 ...$150
Miscellaneous Costs 3hrs giving tour of facility (assuming office rate)... 1hr component pick-up/drop-off... 2hrs visiting class...
...$150 ...$50 ...$100
Total Cost page · 126
...$1730-1810 documentation
We paid McKamish $900 for material and labor across the project. This amounted to roughly 50% of the end cost to them. In these calculations I have figured in time likely known to be donated, for the tour and visit to our class specifically, however it is worthwhile to consider that several individuals had to take time away from billable hours to do us those favors. A large amount of the end cost was due to mistakes made during the fabrication process. If we assume a perfect flawless run, the cost of the project would have been only $730-810 (also discounting the donated hours). In this light, the offer we made them was reasonable, and the value of the relationship made up the difference in monetary compensation. The fabrication issues were unforeseeable, and the player at fault was liable for the additional expenses. The following pages contain documentation photos and drawings of the process and final installation. In the end, the project was a nice addition and fulfilled a need of the School of Architecture. However, the real value was in the experience for the students, and that should be noted and considered during the post occupancy evaluation later on.
documentation
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These images document the process of fabricating Confluence. From beginning to end the process gave us insight into the realities of commissioning custom fabricated details that could have lived in any one of our projects. We sought to understand this as chiefly an educational experience, learning as much as possible about our parters McKamish and how they operate as possible.
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Rendered interpretation of the final installation. The Confluence acts as a rack for construction helmets in the School of Architecture main office at the moment, but could easily have been deployed at another location. The piece fits nicely in the space, filling out an otherwise empty wall. The proportions of the installation accentuate the already linear nature of the space, and draw the eyes towards the window at the west end as one enters.
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documentation
documentation
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These images document the final status of the Confluence installation. The complete piece spans roughly 23 feet, and is mounted at 6.5 feet above the ground. It is not yet completely laden with hard hats, but at this stage it is easier to see the details of the form and connections. The long horizontal orientation of the form accentuates the narrow nature of the space it sits within. The shadows cast by the positionable track lighting create a diaphonous effect on the wall behind.
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documentation
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The final status of the Confluence installation.
27.
analysis Due to the relatively rapid schedule of this project, we have not had a great deal of time to assess the efficacy of our product. In this section I will attempt to analyze the project as a whole in its different stages. Beginning with design and moving through post-installation. Design The workshop that was to result in our initial designs was disorganized and confusing. The concept of confluence was given as a grounding point, but the literal instructions of how to order the pages, and how the drawings were to be done was vague and unclear. The teaching assistants were also unable to assist, and left the professor alone to ensure that a group of 90 students were performing the exercise correctly. The students gathered that the overlaps were to be identical to the preceding piece, and using this information performed the initial exercise incorrectly. A lack of effective communication at this stage immediately set the project back, as our drawings had to be revised after the initial submission. Drawings The creation of the construction documents went relatively smoothly. The process was straightforward page ¡ 134
analysis
and the templates were easy to adapt for our individual drawings. The layer guides given were particularly helpful at creating a set of unified files with which McKamish could work efficiently. Terry Tumulty Sr. remarked that this years drawings required the least revision out of any set he could remember. Fabrication During fabrication the project hit some significant road blocks. However, these came at no fault of our group. The issues came out of two factors. Initially, the project itself favored the formal nature of smooth and intricate curves. A more complicated geometry has to be broken down into more instructions, creating a large file that took significant time to execute on the plasma cutter. Additionally, the plasma cutter was not set up properly and ended up damaging the pieces during the process. This caused a great deal of extra work that McKamish employees had to amend before delivering the pieces back to us. Regrettably, these issues ended up putting the project significantly over budget. McKamish came out at a significant loss. Ideally in the future the process will become more practiced and streamlined, and these issues less likely or at least more predictable. We hope to continue this beneficial relationship far into the future. The experience of visiting McKamish’s facility was helpful and interesting, giving us insight into the inner workings of an industrial fabricator - a typology of practice many of us will be working with in the future. Installation Installation was handled largely by John Folan and Garrett Rauck, with little direct labor done by students. A completely valid decision, as having 45 people do a job for the first time would likely yield messy and inconsistent analysis
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results - not to mention consume significantly more time. There was something left to be desired in terms of the communication on this front though, as the students had little idea what was expected of them beforehand. Luckily, everything seems to have gone smoothly. None of the predicted issues with the structural composition of the wall arose, and the process wrapped up fairly quickly. Post-Installation Confluence is up, and aesthetically it fits its name. The concept came through in the final design; curves flow into and off of each other, pieces split and merge back together, openings reveal and lap in interesting ways. Some pieces are more outlandish than others, and take away from the overall cohesive identity of the installation, but in exchange add more detail and individuality to the series of components. The lighting in the space offers a pleasant surprise, in the shadows cast by each of the hooks. They split into two, creating a quite beautiful diaphanous effect upon the white homasote wall. The polyurethane coat gave the matte steel pieces a slight shine as well, which adds to the overall aesthetic effect. Hopefully when the rack is full (which we have not yet witnessed) one will still be able to make out some of the formal intricacies of the Confluence. The functionality of the installation was never in question. The hooks were appropriately sized from the beginning, and steel plates with a 50,000lb stress tolerance were to have no problem supporting plastic hard hats. The singular issue I could foresee is the height at which the components are mounted. Topping out at about 7’ it could pose a challenge for some younger students and/or shorter faculty members to reach. page ¡ 136
analysis
Ian Young in the process of performing the brake operation on our components.
28.
reflection As a short reflection on the entire experience, I would like to express deep appreciation for McKamish and their willingness and amicability towards us and our project. In particular, Jamie Clemente the Senior Vice President and Project Manager, was extremely helpful and instrumental in how this entire project came together. I would also like to acknowledge the generous and hard work put in by the McKamish employees that assisted us. Ian Young (pictured above), Terry Tumulty Jr. and Sr., and Nick Clemente all put in significant time towards our project at an overall loss to McKamish. If we return to Kieran Timberlakeâ&#x20AC;&#x2122;s metric of Quality x Scope < Cost x Time, I believe that this project was successful. An intelligent set of design guidelines along with consideration of material and equipment constraints gave rise to an efficient process and a clean product. Not having to cater to a secondary audience allowed us to focus on the process, and put the emphasis on learning as much from the experience as possible.
reflection
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credits 4 - Speyerer Dom, IUB 6 - Morphosis, Gates Hall 7 - Raumlabor, ALLMĂ&#x201E;NNA BADET 9 - RATIO, Uptown Station 10 - Christoph Eckrich, B2F 2019 11 - Peter Eisenman, Wexner Center 12 - SITU, Euro Maidan 14 - Reyner Banham, Scenes in America Deserta 16 - Kieran Timberlake, Refabricating Architecture 18 - Herzog & de Meuron, Complete Works 20 - Gramazio Kohler, The Endless Wall 25 - UNStudio, RESET 26 - RaumLabor, THIRD SPACE 31 - Herzog & de Meuron, Vitra House 32 - Lina Bo Bardi, Museo de Arte de Sao Paolo 33 - Sander Hofrichter Architekten, Klinikum Lorach 48 - UDA Sketch of proposed development 54 - I.M. Pei, Supporting Frank Owen Gehry 70 - Negative Dialectics, Putney Debater 72 - The AA, self edited 75 - Site Analysis Drawings, Studio A 76 - Besty Devos, self edited 78 - Radom Walker Script, wikimedia commons
All remaining images and diagrams created by the author.
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“I would just like you to deeply contemplate Bucky Fuller’s rear end as the beginning, and end, of our field.” – Mark Wigley