Design Portfolio by Chad Summe

CHAD SUMME ARCHITECTURE + DESIGN PORTFOLIO

513.827.4874

CONTACT summecm@mail.uc.edu

www.linkedin.com/in/chad-summe

THE ATHENAEUM COLUMBUS, IN - FALL 2018

09 CRYSTAL GATEWAY CHICAGO IL, - SPRING 2017

URBAN LIFT ELYRIA, OH - FALL 2016

25 HOUSE WORKS SANDUSKY, OH - FALL 2016

THE ATHENAEUM

COLUMBUS, IN

CELEBRATING COLUMBUS’ ARCHITECTURAL LEGACY

The city of Columbus, Indiana is a town of many traits, but one of its best assets is that it has become a podium for famous architects to raise up some of their most iconic buildings. Names like Eero Saarinen, I.M. Pei, and Harry Weiss have helped to make Columbus, despite its site, an urban museum of modern architecture. Over the years, the city of Columbus has built up an archive of drawings and models from the cities most famous built projects, and from many unbuilt proposals as well. The proposal for this project, is to celebrate the legacy of Columbus’ architectural prowess, by creating a palace to house these artifacts, while providing architectural scholars a new type of environment to study the buildings of the city. Nestled on a narrow site on the east side of a parking garage, the Athenaeum is a stones throw away from some of the cities most famous sites. The concept for developing site is the idea of compartments within a void. The artifacts that this project will house come with a treasure trove of knowledge and inspiration; the volumes created within the site are lifted up, pushed down into the ground plane, and begin to cautiously, yet provocatively open themselves up like drawers to reveal the treasures within to the community.

SITE PLAN

0’

50’ 100’

200’

One enters the building off of Washington Street on the northeast corner where a bookstore and cafe are close by. A powerful grand stair pulls visitors down below street level into the archive, which requires security and special environmental control considerations to protect some of the most delicate drawings and artifacts of the city’s collection. At the same time, this tells visitors that although the collection is valuable and delicate, it is worth it to invite visitors to share in its knowledge. From here the shuffling, wood panel clad (reminiscent of the archive drawers down below) volumes containing the architectural library, work rooms, offices and galleries are accessed through various stairwells on the west wall, against the parking garage. Compartmentalized private spaces occupy the volumes, while ambulatory social spaces intersect and penetrate the spaces in between. Work areas, reading rooms and circulatory bridges are bathed in light as visitors pass through each volume. The museum occupies the entire third and fourth floors, giving visitors views of the street from roof gardens cut through the main volumes.

(TOP) VIEW FROM ARCHIVE LOOKING TOWARDS GRAND STAIR > (BOTTOM) VIEW FROM SOUTH ROOF GARDEN LOOKING NORTH >

< VIEW OF GRAND STAIR, MAIN LOBBY LOOKING EAST

HORIZONTAL LOUVERS

ROOF GARDEN

EXTERIOR WOOD PANEL

CURTAIN WALL

1 2

4 4

1 2

3 6

HORIZONTAL LOUVER SYSTEM

EXTERIOR WOOD PANEL

3 INNER TERRACE WALL: • • • •

METAL STUD EXTERIOR GRADE SHEATHING 2” RIGID INSULATION VAPOR / WEATHER BARRIER

• • • •

5 LOWER TERRACE CEILING:

WOOD PLANK METAL UNISTRUT GRID 2X8 FRAME SUSPENSION WIRE TO DECK

MECHANICAL SUPPLY DUCT

INNER PARAPET WALL: • • • •

EXTERIOR WOOD PANEL METAL UNISTRUT SYSTEM VAPOR / WEATHER BARRIER 2” RIGID INSULATION

4 EXTERIOR CURTAIN WALL

4 ROOF DECK

CONCRETE PAVERS WATERPROOFING MEMBRANE 2” RIGID INSULATION CAST-IN-PLACE CONCRETE DECK

5 STRUCTURAL COLUMN

TERRACE DECK:

CONCRETE PAVERS WATERPROOFING MEMBRANE 2” RIGID INSULATION CAST-IN-PLACE CONCRETE DECK

EXTERIOR WOOD PANEL

3 OUTER PARAPET WALL:

• • • •

• WOOD PLANK PANELING • SUSPENDED CEILING GRID • • • •

3 TERRACE DECK:

4 OUTER TERRACE WALL:

• METAL UNISTRUT SYSTEM • 1” AIR GAP • EXTERIOR WOOD PANEL

INTERIOR SUSPENDED CEILING

AWNING WINDOW

• • • •

2” RIGID INSULATION VAPOR / WEATHER BARRIER METAL UNISTRUT SYSTEM EXTERIOR WOOD PANEL

• EPDM ROOF MEMBRANE • 2” RIGID INSULATION • CAST-IN-PLACE CONCRETE DECK

5 STRUCTURAL COLUMN

CHICAGO, IL

CRYSTAL GATEWAY RECONCILING RELATIONSHIPS BETWEEN INDUSTRY AND PUBLIC USE

The world of architecture today is being flooded with proposals of urban revival, and therefore the idea of what role a building plays in urban context becomes increasingly relevant. Ideas of arrival, place, and view are crucial urban tools that we can use to initiate excitement, visualization and exploration to stitch together repurposed urban space with new architecture. The Crystal Gateway is an experiment in using the idea of a “gateway” to both encourage urban exploration into a repurposed area, and generate efficient and sustainable daylighting opportunities. Goose Island, a former industrial island, is undergoing several phases of urban redevelopment, the goal of which is to slowly integrate public use into industrial areas that are still in use, and repurpose the ones that aren’t.

SITE PLAN

0’ 50’100’

200’

The building site, just across the North Branch Chicago River from Goose Island, has several proposed elements that will enhance pedestrian traffic, including a new transit stop, elevated pedestrian bridge, and a boardwalk on the river; all of which are implemented into this project. The building form comes from the initial idea of the “gateway” not only as an icon to lead visitors through on the pedestrian bridge level to the island, but also to seize passive daylighting opportunities for the office tower as required for this project. Building upward was key to seizing these opportunities while taking advantage of the 360 degree views that Chicago has to offer.

THE IDEA OF A “GATEWAY” Historically, the idea of the gateway is thought of as a folly that announces entry or creates a sense of arrival. This leads to a conversation that questions how the built environment, a stationary object, can not only encourage arrival, but engage an individual’s exploration and interest. As the building’s atrium passes through the offices above, it becomes a full opening at the level of the footbridge, framing the river and creating a sense of place to welcome people to the riverfront area and the island beyond. The gateway idea doubles as a way to optimize daylighting. A traditional solution to letting light penetrate deeper into a building is an atrium. Rotated vertically, the atrium now forms in unison with the gateway concept. The opening allows raw light to penetrate deeper into the office spaces, and is further controlled and diffused with the help of a partially operable double skin facade. Just as a gateway channels people, this building will channel light and serve as a model for maximizing daylight and reducing the need for electrical lights during office hours.

^ 1:16 SCALE MODEL, VIEW FROM SOUTH (LEFT), VIEW FROM EAST (RIGHT)

^ 1:16 SCALE MODEL, VIEW FROM NORTH

FACADE

<< A DOUBLE SKIN creates a thermal barrier to maintain thermal comfort in winter months << OPERABLE SECTIONS for ventilation << FRITTED GLASS designed to diffuse direct sunlight to workable levels to serve office spaces. On the south face, fritting is calculated for more light, giving a more diffused look, while the north end is more open glass as a result of reception of less direct sunlight.

STRUCTURE

<< A HAT TRUSS is supported from the top of the cores, from which the floor plates hang creating a virtually column free space at the base << DRIVEN PILES support the hat truss from within the thickened cores, which support the structure as a whole from deep inside the earth

BUILDING SERVICE TRAFFIC PEDESTRIAN TRAFFIC EMPLOYEE ACCESS

PROGRAM

<< PRIMARY MECHANICAL EQUIPMENT (ROOF) is housed one level below the roof to service the offices, while the museum has its own system at the base << MULTI-TENANT OFFICE ZONE (LEVELS 9-10) with flexible 2k, 4k, and 6k square foot office leases << PRIMARY TENANT OFFICES (LEVELS 3-8) are to contain 90,000 sf of flexible office space, conference and meeting areas, collaborative zones, and laboratories. << LOBBY, MUSEUM, AND SERVICE (LEVELS 1-2) serve as the public realm, but also conceal delivery and loading docks at the base. Any path taken within this area leads to the boardwalk, or the island beyond.

FACADE ASSEMBLY 1

4 2

Operable sections of curtain wall allow for natural ventilation to work in unison with a Variable Air Volume (VAV) air delivery system

Lower operable sections of curtain wall can take in ventilation air and force any unwanted air out through the upper sections

Mullion systems act as light shelves to direct light to highly populated work spaces

Two layers of double insulated spandrel glazing insures a secure thermal barrier for winter months

Warm air is delivered from the VAV via an underfloor air distribution plenum. The raised floors combined with the double skin facade will create an efficient and controllable interior environment

THE PUBLIC REALM >> of the Crystal Gateway is expressed as a thoroughfare in all aspects when viewed in plan. As the building is approached from the bridge, visitors are either drawn down to the boardwalk through the grand stair, or into the museum inside. Either way, all public interaction for those choosing to explore the area leads them to the river, which will encourage further use, interaction and public interest in Chicago’s waterfront. LOWER LEVEL PLAN

OFFICE EFFICIENCY >> drives the floor plans of the building that rises above the base. The building’s skin is designed to filter direct light from the sun to desirable levels to suit the working environment. The offices, as a result organized to take advantage. Research Laboratories (Flex Labs) are placed at the southwest quadrant of the plan, so they can be used for botanical research with appropriate light levels. Major work zones reside on the northern and eastern sides, maintaining comfortable light levels without sacrificing views.

1. OPEN OFFICE 2. CONFERENCE ROOMS 3. FLEX LABS 4. CORE

BRIDGE LEVEL PLAN

3 1

TYPICAL OFFICE PLAN

<< THE GRAND STAIR is the urbanistic tool that enhances the footbridge to riverfront relationship that this project strives to accomplish. It serves as both a passage and a place within itself; pedestrians do not just pass through, but they sit, gather and observe. Creation of place is one of the most important factors to consider in any urban defined construct.

<< THE ENVIRONMENTAL MUSEUM is the programmatic element that links the upper portion of the building to the lower. The offices, ideally are to house an environmental research agency whose main purpose is to perform research on outstanding environmental issues. The museum, designed to lead visitors down to the lower level and out onto the boardwalk, will have display space for the research agency to display their findings, while the remainder will display crucial environmental exhibits on water, sun, soil, waste and water.

URBAN LIFT

ELYRIA, OH

EXPERIMENTING WITH FORM, PRESERVING COMMUNITY WHOLENESS

The concept of this adaptive reuse project in the city center of Elyria Ohio is an experiment in the juxtaposition of new forms in architecture with the more traditional grid forms of construction. It is an experiment in which the architecture adapts to new programmatic functions through form, while responding to the building site’s surrounding context. The building site lies on a crucial corner of downtown Elyria across the street from Ely Square, a popular public gathering space. On the north side of the Building is Depot Street, an underutilized alleyway. The proposal here is to attract people into the building with a newly developed open farmers market which will activate this alley for pedestrians, and ultimately turn the alley into a pedestrian thoroughfare. From here, visitors can be drawn upward through a series of interlocking floating tubes with its own structure separate from that of what is kept of the original structure, which can be viewed from the tubes at many different levels. These tubes interlock and separate as visitors ascend into them, containing a series of communal art spaces complete with art studios, a large scale art installation space, a formal gallery, and a digital fabrication studio. As visitors explore these features, they will be drawn upwards through a series of bridging stairways that pass over one another, in and out of the tubes, providing many different angles of viewing the unique volume of space. The journey concludes at the top with a restaurant and bar where visitors can relax and take in the views of the surrounding area. This project represents a potential new wholeness of community formed through community arts and fine cuisine.

SITE PLAN

0’ 50’100’

200’

INTERVENTION + INPLIMENTATION

ORIGINAL STRUCTURE

ATRIUM CREATED ON DEPOT ST. ALLEY

ATRIUM OCCUPIED WITH NEW ELEMENTS

TOP LEVEL ADDED FOR VIEWS

NEW VESTIBULE TO TRANSFORM ENTRY

DIGITAL FABRICATION LAB / STUDIOS

ROOF ACCESS

RESTAURANT / BAR

PROGRAM + ORGANIZATION

OPEN MARKET

ART INSTALLATION / GALLERY

TROXEL BUILDING

DEPOT STREET

5 4 2

6 6

0’

10’

25’

40’

The existing building’s shell is well integrated into the city, where the bottom-most level is even with the northern alleyway, and the facade articulates itself for entry off of the public square to the south. It was these characteristics that made it logical to modify the spaces inside to encourage entry at the main street and draw people down to the alleyway in back. Secondary access at the alleyway will also draw people in from the north. Creating a pedestrian thoroughfare here will further enhance public exploration and create a new sense of place in this newly created public realm. In plan and section, the presence of the new additions to the building start to unfold and relate to one another. The art Installation capsule floats on stilts in the middle of the “atrium” cut from the original structural grid. An approximate 5 feet of air space exists between the original floor plates that are left, and the new structure. This creates a visual separation between the old and the new, and comes with the added benefit of serving to help with stack ventilation. We can also see the conceptual idea of the new capsules juxtaposed against the original structure, with circulation penetrating and leading to interactions and views between both entities.

RESTAURANT

Concludes the jornuey by offering visitors fine quisine (serviced by market below) and views of the surrounding area. Views to public spaces adjacent to the building will encourage exploration and further use.

TROXEL BUILDING

ART STUDIOS

Will be available to local artists with the special intention of using the unique installation spaces to display their work.

ART STUDIOS

Will serve as the primary means of community engagement, where works of public art can be displayed

MARKET

Will serve to create a public realm at the ground and activate pedestrian alley. DEPOT STREET

^ PERSPECTIVE SECTION, LOOKING EAST

KERSTETTER WAY ^ PERSPECTIVE SECTION, LOOKING SOUTH

^ VIEW OF ART INSTALLATION CAPSULE, FROM MAIN STAIR

The renderings pictured here contribute to the visualization and understanding of how these new spaces work. Upon entry to the building, visitors enter through a new tubular vestibule that mimics the form of the final destination. Upon entry to the lobby beyond (bottom right), the original structural grid is completely exposed and is seen wrapping around the floating art installation capsule. From this point, visitors can either go down to the open market area which opens up onto the Depot Street alley, or they can ascend upward into the art installation capsule (left). Arriving in this space, visitors can experience the displayed works of the Digital Fabrication Lab on the next level, or explore the public art studios. In this space, visitors can see the Digital Lab above which looks down into the Installation space, with a bridge that winds through above.

^ VIEW OF ART INSTALLATION CAPSULE AND SUBSEQUENT LEVELS, FROM BRIDGE

The new V-columns create visual contrast against the original wood beams beyond, once again creating dynamic between the old and the new. From here, one can ascend further to explore the Digital Lab and the formal art gallery. A view from the bridge (top right) creates a visual experience of this juxtaposition of old and new, where one can see the new structure, with the original structure just beyond that. From this level, one can ascend to the top level restaurant and bar, reinforcing the idea of the new coexisting with the old, and then rising above it.

^ VIEW OF LOBBY AND MAIN ENTRANCE

SANDUSKY, OH

HOUSE WORKS

PASSIVE LIVING WITH A SENSE OF PLACE ON SANDUSKY’S LAKEFRONT

Dwellings built in a development often come with the preconceived notion that aesthetic pleasures such as light and views have to be sacrificed for privacy. Relationship to its surroundings become a rarity for these types of homes because as light and views diminish, the desire to spend time outside of the dwelling fades as well. This project is an analysis of form and context with the goal of proposing a home that is built for the suburbs, but assumes the duty of responsible uses of the site’s surrounding context, light, ventilation without sacrificing for privacy.

POTENTIAL HOUSING DEVELOPMENT LAKE ERIE

HOUSE SITE

The House Works project was done in partnership with the city of Sandusky Ohio, the members of which had the idea to introduce passive housing to some of the city’s underdeveloped areas. The site for this housing concept lies in Sandusky’s Cove District, which hosts a series of vernacular vinyl cladded houses oriented east to west with very little connection to views of Lake Erie and Cedar Point to the north. Although the House Site is not technically a lake front property, the opportunity to create a place within this street and initiate more activity oriented towards the lake is plausible. In addition, the site has great access to natural lighting and ventilation, creating the opportunity to implement passive strategies attempt to initiate a new way of living for Sandusky. Combining contextual opportunities presented here along with new ideas

SITE PLAN

0’ 100’

250’

500’

^ VIEW OF HOUSE AND VIEWING TERRACES FROM NORTH

SUN VIEW

VIEW

SUMMER SUN

WINTER SUN

The house form is a manipulation of the typical pitched roof house to make the structure open to sunlight and ventilation, and simultaneously accessing views of the lake. The northern half of the form is lifted up to expose the southern side to sunlight, and is then spread apart to form terraces which can capture views around the neighbors. The southern half uses a two story roofed entry terrace to with moveable louvers that can block the sun in the summer, and let it through for direct solar gain in the winter. The louvers can also allow or deny ventilation, making this a structure that can reduce internal heating and cooling loads, thus reducing the amount of mechanical system usage.

PERSPECTIVE SECTION, SHOWING VENTILATION AND SHADING OPPORTUNITIES ^

Metal Roofing 5

BIPV Membrane

b 12

11 10

14 13

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.

ENTRY TERRACE DINING/KITCHEN LAUNDRY BEDROOM BATHROOM PANTRY PORCH LIVING ROOM VIEWING TERRACE BATHROOM BEDROOM VIEWING TERRACE STUDY/GUEST LOFT PRIVATE TERRACE

Steel Frame Cantilevers, Concrete Slab

Standard Wood Decking

The construction and materiality of this home is a fresh spin on the methods and materials of the surrounding area. The process of the house’s form is emphasized through separation of material; the “lifted” portion is to be wrapped completely in metal roofing, while the base is clad in medium toned wood panels, creating the sense that the lifted portion floats above the base. The southern roof exposure can be fitted with a solar membrane, the area of which can offset approximately 40% of the house’s electrical usage. In plan and section, we can start to see how the inner workings of spaces work with the concepts of passive design, and viewing opportunities. One of the key aspects that makes this house work passively is that all of the main spaces are placed on the north side of the house, physically separating them from the southern threshold. The entry terrace and main staircase are stacked on the southern wall with a low pitch roof to keep the sun from reaching these spaces in the summer, and allow it to ventilate through prevailing winds from the south and west. Placing these spaces to the north also gives maximum viewing opportunities of the lake from the inside. Catching a glimpse of the lake from this distance a challenge, which is why the living room and master bedroom are moved to the second floor of the house to create better opportunities for views, each being accompanied with their own viewing terrace. There is also a private terrace on the uppermost level attached to the loft, which is high enough off the ground to capture exceptional views.

SECTION A

SectionB B SECTION

SUCCESS: DEDICATION, HARD WORK, and an unremitting DEVOTION “I know the price of

to the things you want to see happen.”

-Frank Lloyd Wright

My name is Chad Summe, and I am a native of Cincinnati Ohio who has aspired for a career in architecture from a

young age. My father built the family house from a set of floor plans that he drew with only a few high school drafting classes under his belt and a few years of experience working for a contractor. The floor plans he drew fascinated me, and as I explored books and magazines looking at new ways to perceive and design space, I decided early that architecture was my ideal career choice.

I was drawing constantly throughout life and by high school I had developed at advent interest in physics and drafting, tak-

ing many electives in both fields. Habitat for Humanity was a volunteering opportunity that I constantly took, where I learned how to put houses together. I also worked four amazing summers for Cincinnati’s prestigious ArtWorks Program, whose mission was to transform the Cincinnati area through large scale works of public art. Here, I perfected my drawing and painting skills and worked with ArtWorks clients and collaborated with teams of dozens of other artists to create the ideal public art spectacle. All of these things I did with eagerness and curiosity, hoping to be accepted to a university with a major in architecture; the perfect fusion of science and art.

The day finally came that I received a letter from Kent State University saying that I had been accepted into their up-and-coming ar-

chitecture program with a scholarship. Since then, it has been late nights, excitement, fascination, and a bit of frustration as well. Every architecture program that I visited emphasized that the ones without passion and dedication simply won’t make it, and they were right. All the late nights, numerous hours of studying for exams and perfecting my skills had me completely satisfied for all the hard work and passion I had put in. To quote the great Frank Lloyd Wright, “I know the price of success: dedication, hard work, and an unremitting devotion to the things you want to see happen.” I too, know the price of success; and more importantly than the rest is belief in your work and in yourself.