C H R I S KE LU SA K | S E L E C TE D WO R KS FA L L 2 0 1 3 & S P R I N G 2 0 1 4
De s i g n C h r i s Ke l u s a k Class G R 6 5 0 . 0 1 M S: De s i g n S e m i n a r / P o r t fo l i o I n st r u c t o r M a r y S co t t Semester Fa l l 2 0 1 4 B o o k T i t le S e le c t e d Wo r k s Fa l l 2 0 1 3 & S p r i n g 2 0 1 5 Te x t St o c k P ro l i n e U n co a t e d ( 1 0 0 # Te x t , E g g s h e l l Te x t u re ) Printer Blurb Binder Blurb Dimensions 8” x 10” # of P a ge s 92 © 2 0 1 4 C h r i s Ke l u s a k
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teammates / chris kelusak,kenia durte, neil liu
year /Fall 2013
Instructor / doron serban
class: arh 620 digitally generated morphology
G L AS S G E OME T R I E S
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chris kelusak
doron serban, monica neiman sotomayor,
year: spring 2014
ACADIA 2014
1525 FAHRENHEIT
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class: ARH 619 comprehensive studio instructors: david Gill & richard smith year: spring 2014
MICRO COMMUNITIES
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class: ARH 608 instructor: alexa getting year: spring 2014
FINNISH RELAXATION
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Course Description This course examined Rose windows and focused
over 12 days allowing the glass to anneal properly.
on determining the descriptive geometries that was
After the glass had cooled, we carefully removed
used for designing them. We then took the descrip-
the plaster, removed any glass that was sticking off
tive geometry that we found and was then tasked
of the model with diamond sanding blocks, sanded,
with building the geometry in Grasshopper. Follow-
polished and did other cold working to the glass to
ing the creation of the Grasshopper definition, we
get it to become presentation worthy.
were to come up with a set of rules that would allow us to morph the existing geometry,
Roles and Responsibilities Working in teams of three students, we were chal-
The physical manifestation for this project was a
lenged with not only a new process but also with
kiln fired piece. This was achieved by using a 3-axis
how to structure the team having no one with previ-
CNC mill to create a positive of the digital model,
ous expertise with the project typology. I took the
which was then detailed by hand and cleared to
role of the team leader, organizing not only the file
prepare for the next step. We then visited Bullseye
structure but work load and helping my teammates
Glass in Emeryville, where after being introduced
learn the process as i did. My partners, Kenia Durte
to the kilning glass process, we created a refrac-
and Neil Liu were instrumental in the development
tory mold around our wooden piece using plaster.
of iterations based of the original geometry.
After the plaster had dried, we removed the wooden model from the plaster and hand worked any detail that was missing or any imperfections from the plaster mold. After selecting the glass that we wanted to use we calculated the volume needed and filled the mold, either with frit or billets. We then placed it in a top loading kiln and fired them to 2700 degrees Fahrenheit, the kiln then slowly lowered its temperature
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G L AS S G E OME T R I E S class: arh 620 digitally generated morphology Instructor / doron serban year /Fall 2013 teammates / chris kelusak,kenia durte, neil liu
Rhino | Glass | Grasshopper | Descriptive Geometry | CNC Milling | Kilning | Parametric | Transparency | Opaque
figure saint mary’s rose window
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G
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K1
K2
illustrations steps 1 through 6 of the design of st. mary’s rose window
L1
| GLASS GEOMETRIES |
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D
I2 J2 J1
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C A E
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B
B
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illustrations steps 7 through 10 of the design of st. mary’s rose window post trimmed eight, completed geometry
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2
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Illustration composite drawing of the steps
8 1
5 4
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ILLUSTRATION Final drawing of St. Mary’s Rose Window
PHOTO Rough CNC Milled Mold
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RENDERINGS Iterations based off original geometry
RENDERINGS Iterations based off original geometry
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| GLASS GEOMETRIES |
FIGURE Grasshopper 3D Definition (Construction to Final Design)
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Project Description 1525 Fahrenheit’s purpose was to explore the
a tool, is an extension of the mind. This mind-tool
concept of ‘Craft in the Digital Age’, a topic given
has the potential to seamlessly navigate the artistic
by ACADIA (Association for Computer-Aided Design
process joining the designer, the visualization soft-
in Architecture) as an topic into the conference.
ware, and the fabrication process.
Working with Doron Serban and Monica Neiman Sotomayor, we came up with the concept of using
The computer as a tool for three-dimensional visual-
PLA (Poly lactic acid) and taking from the centuries
ization and three-dimensional fabrication opens new
old technique of the lost wax process, combining
methods of design and production for the artisan.
them into a “Lost PLA” process.
When considering investment casting of glass, the ability to move directly from three-dimensional
The Lost PLA process allows artist’s process to
modeling to real three-dimensional output challeng-
become digital, creating more complicated forms
es the need for traditional lost-wax casting.
that would either be impossible to carve by hand or be to time intensive and print them using a 3d
The ancient lost-wax process of casting, known
Printer. This creates multiple benefits for the artist,
today as investment casting, involves creating
from time constraints, to different geometrical pos-
a refractory mold around a wax model and then
sibilities and the advantage of mass production and
steaming the wax out thereby creating a cavity. If
mass iterations, all become possible due to the
Investment Casting is being done with glass, then
effectiveness of the 3d printer.
the mold and the amount of glass needed to fill the cavity are then placed in a room-temperature kiln
Project Board Text
and heated to temperatures at which the glass will flow into and fill the cavity. The mold and the glass
Artisans can take pride knowing that their talents
are then cooled down slowly in a controlled manner
and skills, their craft, exists between art and
to ensure proper annealing of the glass.
science. Craft brings together the eye, the mind and the hand resulting in design conception and fabrica-
Like Alice in the sequel to Alice in Wonderland,
tion. When one thinks of craft, the concept of dig-
Through the Looking Glass, we decided to embark
itization seems inappropriate, almost sacrilege.
on a similar surreal journey, planning our series of
Typical tools of craft are extensions of the hand; the
moves as a chess game, turning traditional kiln-
paint brush, the chisel. Yet today, the computer, as
formed glass sculpture on its head in favor of three-dimensional visualization tools and three-
PHOTO Molten Glass | Monica Neiman Sotomayor |
dimensional fabrication.
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1 5 2 5 FA H R E N H E I T ACADIA 2014 year: spring 2014 doron serban, monica neiman sotomayor, chris kelusak
Rhino | Glass | Grasshopper | Lost PLA | Kilning | Parametric
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DRAWINGS Steps 7 through 10 of the design of St. Mary’s rose window Post trimmed eight, Completed Geometry
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PHOTOS Cast model after cleaning
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FORM GENERATION DRIVING CHARACTERISTICS
TECHNIQUE
PHASE 1
ROSE WINDOW
3-axis CNC milling
PHASE 2
RIGHT ANGLES
3D printing
material: PLA (organic) maximum size (3.5cm x 3cm x 2cm) curves and right angles
PHASE 3
UNDERCUTS
3D printing
material: PLA (organic) maximum size (5.5cm x 6cm diameter) undercuts curvilinear twist built in reservoir (1.5 cm)
ILLUSTRATION Diagram of different processes
PROTOCOL
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MOULD MAKING CONSTRAINTS material: sandwiched 1/2� plywood tapered-out walls (8 degrees) minimum wall thickness (0.6cm) no undercuts maximum dimensions (20cm diameter)
PREPARATION
Sand Model
MOULD MAKING
App of r plas gro
Apply multiple coats of mould release Apply face coat of refractory plaster
App of r plas fibe
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REFINING MOULD
Remove wood model
ply 2nd layer refractory ster with og
ply 2nd layer refractory ster with erglass shards
Allow plaster to harden
PREPARATION
FIRING
POST-PROCESS
coldwork glass piece
Repair detail to the inside of mould Burn-out 3D print in Kiln @ 700F
Add glass frit
Run kiln firing schedule
Devestment of plaster mould
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GLASS CASTING
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Investment casting, the traditional, ancient lost-wax process of casting, involves creating a refractory mold around a wax model and then steaming the wax out thereby creating a cavity. When investment casting is done with glass, the mold and the amount of glass needed to fill the cavity are placed in a room-temperature kiln and heated to temperatures at which the glass will flow into and fill the cavity. Around 15250 Fahrenheit, glass begins to move beyond its original footprint and its viscosity continues to decrease allowing it to flow under the force of gravity. The mold and the glass are then cooled down slowly in a controlled manner to ensure proper annealing of the glass.
wax casting. The advantages of pairing investment casting of glass with 3D technology are numerous. Great accuracy in replicating detail and surface quality is a tremendous asset when one considers the many delicate steps involved in kiln-formed cast glass. Instead of making a master model in wax or clay and then a subsequent rubber mold of the master to produce multiple wax models, the 3D software and printing ability encourages and facilitates repetition of a model and variations of that model as well as affording the ability to troubleshoot and perfect a design in 3D. This ease of transition offers new creative opportunities, enhances one’s ability to visualize a concept and has
GLOSSARY
decorate glass when it is cold such as: engraving, grinding, polishing, from sodium carbonate (Na2CO3), lime (CaO), and several minor cutting, leveling, etc. None of these techniques rely on heat. additives. The term glass is often used to refer only to this specific material. Glass’s molecular structure sits somewhere between a liquid DIVESTING THE REFRACTORY MOULD: refers to the careful removal of and a solid. Its molecules are jumbled randomly, similar to a liquid. But the refractory plaster from the already fired and cooled cast glass they move a lot slower, to the point where they almost aren’t moving piece. at all, in a similar state to a solid. Even in its solid form, glass exhibits the molecular structure of a stiff liquid. For this reason, glass at FIRING (KILN FIRING SCHEDULE): the process of taking a kiln to a room temperature is sometimes referred to as a super-cooled liquid. temperature at which glass will flow into a mould, at which glass ANNEALING: as glass heats, it expands; as it cools, it contracts. These will fuse together or at which glass will deform. Essential to any INVESTMENT CASTING (ALSO KNOWN AS THE “LOST WAX PROCESS”):
This research posits that there is potential for addressing the relationship between hand-making and digital manufacturing. The benefits of computer modeling (software-based form generation, iteration, and visualization, 3D printing, etc) can be leveraged to work in concert with hand-crafting glass work.
INNOVATION IN RAPID PROTOTYPE OPEN-FACED GLASS CASTING
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IMAGE Submitted board
MOULD: a form used for shaping and/ or decorating molten glass. model: the original form from which a mould is made.
KILN-FORMING GLASS: The process of fusing, slumping or shaping glass (usually in or over a mold) by heating it in a kiln.
KILN: a type of oven into which heat can be introduced and stored to achieve certain temperatures. The glass-maker uses kilns for processes such as: fusing, slumping, casting, pâte de verre, enameling.
RESEARCH POSTER
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5000
10000
15000
20000
5000
10000
1500 0
20000
8:00
TIME (HOURS)
TIME (HOURS)
12:00 12:00
16:00 16:00
12:00
TIME (HOURS)
24:00
16:00
20:00 24:00
5000
28:00 28:00
10000
32:00 32:00 32:00
28:00
PHASE 2
36:00 36:00
PHASE 1
40:00 40:00 40:00
36:00
PHASE 3
44:00 44:00 44:00
15000
48:00 48:00 48:00
20000
52:00 52:00 52:00
TEMPERATURE (FAHRENHEIT)
processes set up stresses within the glass which can lead to breakage type of firing is the requisite cooling and annealing procedures. at room temperatures. To relieve these stresses the heated glass must be gradually cooled in a controlled manner through a predetermined FRIT: batch ingredients such as sand and alkali, which have been partly reacted by heating but not completely temperature gradient. The controlled process is called “annealing�. melted. After cooling, frit is ground to a powder and melted. CASTING: a wide variety of techniques used to form glass in a mold. GLASS: The most familiar type of glass is soda-lime glass, which is COLD WORKING: refers to the various techniques used to alter or composed of about 75% silicon dioxide (SiO2), sodium oxide (Na2O)
56:00 56:00 56:00
20:00
TEMPERATURE (FAHRENHEIT)
TEMPERATURE (FAHRENHEIT)
64:00
60:00
24:00
4:00 4:00 4:00
8:00 8:00
60:00 64:00 64:00 60:00
20:00
MOULD RELEASE: in glass casting, agents such as petroleum jelly, oilbased soap, or hair spray are applied to the model to ensure that it will separate from the mould without damage.
REFRACTORY MOULD: a mould which can be made with a variety of materials (such as plaster + silica) which will withstand high INVESTMENT MATERIAL a general term referring to the various materials temperatures. and mixtures used to make the moulds into which glass is to be cast.
involves creating a refractory mold around a wax model and then steaming the wax out thereby creating a cavity. If investment casting is being done with glass, then the mold and the amount of glass needed to fill the cavity are then placed in a room-temperature kiln and heated to temperatures at which the glass will flow into and fill the cavity.
72:00
68:00
68:00 72:00 72:00 68:00
76:00 76:00 76:00
80:00 80:00 80:00
120:00
108:00
PHASE 2
PHASE 1
PHASE 3
700
700
700
7000
8000
9000
15250
12250
2000
TEMPERATURE (FAHRENHEIT)
00:01
00:10
00:01
00:01
00:01
13:00
1:30
2:00
3:00
HOLD AT TEMP (HOURS)
- 2000
0
- 200
-AFAP
+ 5000
+ 500
0
0
- 200
- 2000
-AFAP
+ 5000
0
700
0
700
900
0
18000
700
0
70
7000
9000
18000
00:15
FILL COOLED MOULD WITH COURSE GLASS FRIT
-AFAP
+ 5000
- 240
- 80
- 40
- AFAP
+ 6000
+ 1500
+ 1000
RATE OF CHANGE IN TEMP / HOUR
FIRING SCHEDULES
100:00 96:00 96:00
84:00 84:00 84:00
104:00 96:00 96:00
96:00 96:00
92:00
88:00
112:00 96:00
96:00
88:00 92:00 92:00 88:00
116:00 96:00 96:00
96:00 96:00 96:00
124:00
00:01
00:30
00:30
00:20
00:20
00:01
00:05
00:05
96:00 96:00
96:00
96:00
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the potential for consistency of artistic expression across a body of This method of production was investigated for inefficiencies. With work. This efficiency during the production process translates to digital modes of production inserted into the pipeline, what can these savings in time and material costs. And yet it never creates a perfect methods provide to the notion of craft? copy. Glitches within the pipeline, even with near-identical 3D prints produce self-differentiation. No two pieces will be identical. Due to the In contemplating a new approach to kiln-formed cast glass sculpture, relationship between organic material and hand-making, intuition and the ability to move directly from three-dimensional modeling to real chance play important roles in the final product. three-dimensional output presents an alternative to traditional lost-
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-2
-2
-A
+
+
RATE OF IN TEMP
-2
-2
-A
+
FIL
-A
+
RATE OF IN TEMP
-2
-8
-4
-A
+
+1
+1
RATE OF IN TEMP
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MOULD FILLED WITH FRIT AND PLACED IN KILN | READY TO BE FIRED
PREPARED MOULD
TWO COATS OF REFRACTORY PLASTER APPLIED | FORMWORK IS REMOVED
MOULD FILLED WITH FRIT AND PLACED IN KILN | READY TO BE FIRED
3D PRINTED GEOMETRY USING ORGANIC PLA
COMPLETE BURN-OUT WITHOUT RESIDUAL PLA PRINT
PHASE 2
FIRST OF TWO COATS OF REFRACTORY PLASTER APPLIED
MILLED & SANDED GEOMETRY | MULTIPLE COATS OF POLYURETHANE MOULD RELEASE APPLIED
PHASE 1
IMAGE Submitted board
KILN FIRING UNDERWAY
BURN-OUT OF 3D PRINT UNDERWAY
FIRED GLASS COOLED AND DEVESTED
MILLED MODEL REMOVED FROM MOULD | DETAILS CARVED BACK INTO MOULD
The second phase of research aimed to streamline the model-making process. In Phase 1, using CNC milled plywood created a beautiful model. However, using a wood model for the purposes of refractory plaster mould making proved inefficient and time-consuming. Undercuts had to avoided so that the model could be released
The design was developed by distorting the descriptive geometry for the Rose Window at St Mary’s in Cheltenham (1250-1350). Based on a hard-lined rebuilding of the original rose window’s tracery through descriptive geometry, the protocol was recreated in Grasshopper. Iterations on the code, using a combination of logic and intuition, negotiated between rule-based decisions and aesthetic taste. External factors were then introduced as forms were tested against the material limitations of open-face glass casting. These were further refined to accommodate CNC milling and plaster refractory casting. A refractory mould of the milled model was filled with a Rhubarb Shift Tint frit. This rare earth glass shifts in color depending on the
the plaster refractory mould could withstand a 2nd firing. To verify that complete burnout of the PLA occurred, the kiln lid was lifted during firing, introducing oxygen into the chamber. Resulting flames confirmed that organic material was still present, requiring longer times for complete PLA burnout. Tests revealed
Once cooled, the plaster refractory mould was carefully removed from the cast glass and the piece was then cold-worked to recover some of the details lost in the casting process. The finely ground frit produced an opaque glass. Though one cannot see through the glass, sub-surface scattering produced areas that responded dynamically to direct light.
light source. The piece was fired for five days, reaching a maximum temperature of 1525° degrees Fahrenheit.
GLASS COLOR WHEN LIT INDIRECTLY
GLASS COLOR WHEN LIT DIRECTLY
Fahrenheit. This ensured the lower viscosity needed for the glass to flow into tight confines of a small print, particularly one having right angles. Between 1600°-1700° degrees Fahrenheit, bubbles began to appear from the bottom layer and up through the top surface. As a result of the boiling process, the open-face of the mould
BOILED GLASS
STRIATIONS FROM 3D PRINT
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3D printing
PHASE 3 UNDERCUTS
PROTOCOL
PROTOCOL
3D printing
3-axis CNC milling
ROSE WINDOW
PHASE 2 RIGHT ANGLES
PHASE 1
TECHNIQUE
DRIVING CHARACTERISTICS
material: PLA (organic) maximum size (5.5cm x 6cm diameter) undercuts curvilinear twist built in reservoir (1.5 cm)
material: PLA (organic) maximum size (3.5cm x 3cm x 2cm) curves and right angles
material: sandwiched 1/2” plywood tapered-out walls (8 degrees) minimum wall thickness (0.6cm) no undercuts maximum dimensions (20cm diameter)
CONSTRAINTS
KILN FIRING UNDERWAY | MOLTEN GLASS VISIBLE
MOULD FILLED WITH FRIT AND PLACED IN KILN | READY TO BE FIRED
FORM GENERATION
FIRST OF TWO COATS OF REFRACTORY PLASTER APPLIED
3D PRINTED GEOMETRY USING ORGANIC PLA
PHASE 3
Sand Model
PREPARATION
MOULD MAKING
FIRED GLASS HAS COOLED | READY FOR DEVESTING
FORMWORK IS REMOVED | 3D PRINT STILL IN THE MOULD
Apply multiple coats of mould release Apply face coat of refractory plaster
MOULD MAKING
Apply 2nd layer of refractory plaster with fiberglass shards
Apply 2nd layer of refractory plaster with grog Allow plaster to harden
developed a mottled sheen. Conducting this experiment as an open-faced mould eliminated the need for vents or sprues. This reduced the need for coldworking. The plaster refractory mould was completely successful in giving an index of the fabrication process, accurately revealing the striations of the 3D print that generated the form.
Remove wood model
REFINING MOULD
Repair detail to the inside of mould Burn-out 3D print in Kiln @ 700F
PREPARATION
GLASS CASTING
Add glass frit
Run kiln firing schedule
FIRING
Devestment of plaster mould
coldwork glass piece
POST-PROCESS
The kiln firing schedule was designed with significant hold times to ensure both the refractory mould was completely successful in giving an index of the fabrication burnout phase and the proper viscosity for glass to flow. In an attempt to re-create process, accurately revealing the striations of the 3D print that generated the form the interesting mottled effect achieved in Phase 2, a maximum kiln temperature of as well as tiny superficial cracking (veins) running along the plaster’s surface. 1800° degrees Fahrenheit was added to the kiln schedule. To ensure the adequate annealing of the different masses of glass within the model, a large top on a small pedestal, proper hold times were also added to the schedule.
With the successful burnout results from Phase 2, a new model was introduced that took advantage of numerous curves and undercuts. The plaster refractory mould As seen in Phase 2, conducting Phase 3 as an open-faced mould eliminated the was placed cold in the kiln with the frit sitting in the built-in reservoir. need for vents or sprues thereby reducing the need for coldworking. The plaster
The third phase further streamlined the process. The goal was to combine the burnout process and the melting of the glass within the same kiln firing schedule. Since burning out PLA and the transformation of glass from solid to liquid state occur at different temperatures, a reservoir was figured into the 3D print to contain the glass. The reservoir held the same course, red frit used in Phase 2.
Using 3D prints overcame these limitations. This phase of research would test With a successful burnout achieved, coarse red frit was added into the mould whether an organic PLA 3D print would burnout sufficiently to capture the detail and fired a 2nd time. To confirm that glass would flow into every corner, the in the form, allowing glass to flow into the resulting plaster mould, and whether kiln temperature was increased beyond glass’ boiling point, to 1800° degrees
that the successful burnout occurred at 700° degrees Fahrenheit. Holding at this temperature was dependent on the volume of the print required to burnout. Noxious vapors from the burnout were significant and present new questions about how this methodology can be carried out safely, especially in up-scaling PLA prints.
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from the plaster mould. Wood bonded with the plaster by absorbing the water from the plaster mix and expanding. The solution was to apply a thick coat of Vaseline to the wood which resulted in details having to be manually carved back into the mould upon extraction.
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Course Description This course’s purpose was to design a community of “Micro - Units” within San Francisco, California, with a maximum of approximately 250 square foot per unit. ARH 619 is the last studio in a sequence where students are to look at a building and produce a comprehensive building submittal. My concept stemmed from looking at different levels of communities, and how interaction would occur within the varying levels. Thinking at a “micro” scale of a single unit, to the direct relationship between two units, then a cluster of three to four units, how these clusters relate to each other on the same floor and how floors relate to each other within the building and in the greater neighborhood proper. By creating a ‘forced’ chance encounter for the inhabitants, I was looking at how to build relationships between these people.
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MICRO COMMUNITIES class: ARH 619 comprehensive studio instructors: david Gill & richard smith year: spring 2014
Micro Communities, Micro Housing, San Francisco, Material Expression
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IMAGE Exploded Structural Axon
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| MICRO COMMUNITIES | IMAGE Rendered wall construction axon
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FIGURE Building Section (Left) Corresponding Axonometric Elevation Study (Right)
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ILLUSTRATIONS Details [Same page A & B] [Next page C & D]
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| MICRO COMMUNITIES | 0
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16
1/2
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1/2” = 1’-0”
3”= 1’-0”
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1/16” = 1’-0” 48 32
Section 21 3" = 1'-0"
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IMAGE Typical Cluster concept Rendering
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| MICRO COMMUNITIES | IMAGE Works hare Rendering
IMAGES Axonometric of Building with surrounding site
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| MICRO COMMUNITIES |
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The approach to sustainability on the site started with the optimization of space to the user’s needs, then by maximizing the use of natural ventilation the majority of conditioned spaces. The building uses other passive strategies such as the incorporation of Green roofs, White roofs, semi transparent glazing and rain water harvesting. Active systems on the site include the use of Photo-voltaic panels on the roof and solar panel incorporated into the southern facing glazing via Onyx solar transparent solar panels.
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By the building taking the form that it took, with multiple towers that are accessed via bridges Indoor Air Quality was an important consideration. To optimize the mechanical systems within i decided on going with a hydroponic system throughout the majority of the building. This will give the users the best experience while within the building, while minimizing operation costs. The Pex tubing is embedded into a 2” thick concrete topping slab and has a spacing of 9” on center to increase its efficiency.
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4
450 Hayes Street Micro Units
HAYE S M I C RO U N ITS
Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
The idea of living alone can be either a daunting or a liberating concept. Tasked with designing a micro-housing community, with mixed public / private spaces, it was immediately clear that there would need to be understanding of different scales of interaction introduced to the site. For this reason there was an early separation, yet combination at multiple levels of social interaction.
Scales of Community
Singular to Cluster Cluster to Floor Floor to Private building Private building to whole site Whole site to Neighborhood
Initially I was looking at multiple stalks; multiple interdependent communities could form vertically throughout the site. This was then converted to a branching concept where a singular core would serve multiple levels of smaller communities. This was developed further to incorporate a blurred line between circulation and the clustered communities to fore an indirect opportunity for encounters between the residences of the building.
450 Hayes Street Micro Units
Ivy Street Gough Street
Octavia Street
Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
Hayes Street 0
8
16
1/16” = 1’-0” 48 32
Site Plan @ 0’ - 0”
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Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
C
A - Theatrical Theater B - Cinema Theater C - Mechanical Room D - Theater Lobby
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Sub - Floor Plan @ -12’ - 0”
450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014 UP
M
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O
A - Bike Shop B - Tailor C - Cafe (@ 4’-0”) D - Outdoor Theater (@ 4’-0”) E - Lobby F - Security G - Managers room H - Storage I -Community room J - Laundry K - Mail L - Lounge M- Work-share N - Reading room O - Bike storage
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Ground Floor Plan @ 0’ - 0”
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450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014 DN
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First Floor Plan @ 10’ - 0”
450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
0
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1/8” = 1’-0” 24 16
Second Floor Plan @ 20’ - 0”
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Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
0
4
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Third Floor Plan @ 30’ - 0”
450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
Eastern Elevation
0
Western Elevation
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Elevations
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450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
Ivy Street Elevation
0
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Hayes Street Elevation
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Elevations
450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
Section A B A C
E D
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Sections Section Key
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Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
Section C
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Sections
Section B
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Section E
Section D
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Sections
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A ---
Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
B
C ---
D ---
E ---
F ---
G ---
H ---
1/2” = 1’-0” 0
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Partial Axon Wall Section Partial Elevation
450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
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Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
Detail B - Plan cut of Panels
1 x 4” Stained Alaskan Cedar, Staggered Rubber Membrane Air Infiltration Barrier 6” to 4” Tapered XPS Rigid Insulation Ice and Water Barrier 6” Poured Concrete Slab 3.0FD Composite Metal Decking
3 1/4” C - Studs @ 24” o.c 3/4” GWB pt. fin.
3”= 1’-0” 0
Detail A - Roof and Parapet
1/2
1
Details
Detail C - Cantilevered Corner
450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
Detail D - Wall & Cantilever
Detail E - Short Parapet
3”= 1’-0” 0
Detail F - Concrete to cantilever
Detail G - Foundation @ Grade
1/2
Details
1
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CHRISTOPHER KELUSAK | SELECTED WORKS
450 Hayes Street Micro Units
Precipitation
Traffic diagram
Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
Temperature
Site Analysis
Sustainability Strategy The approach to sustainability on the site started with the optimization of space to the user’s needs, then by maximizing the use of natural ventilation the majority of conditioned spaces. The building uses other passive strategies such as the incorporation of Green roofs, White roofs, semi transparent glazing and rain water harvesting. Active systems on the site include the use of Photo-voltaic panels on the roof and solar panel incorporated into the southern facing glazing via Onyx solars transparent solar panels.
Optimal solar angle 23 deg. 5 1/2 peak sun hours per day Photo-voltaic panels Count - 164 @ 2 x 4 Angle - 23 deg. Area - 1312 sqft 240 wp per panel 39360 wp
Onyx Photo-voltaic Double glazed curtain wall system 20% Transparency Count - 40@ 8 x 5 Area - 1600 sqft 121.8 wp per pane 4872 wp
Extensive Green Roof 5” Growing medium Filter fabric Drainage Mat Waterproof Membrane 4” R20 XPS Insulation
Typical White Roof 4” Crushed stone Drainage mat Waterproof membrane 6” to 4” R20 XPS Rigid Insulation
By the building taking the form that it took, with multiple towers that are accessed via bridges Indoor Air Quality was an important consideration. To optimize the mechanical systems within i decided on going with a hydroponic system throughout the majority of the building. This will give the users the best experience while within the building, while minimizing operation costs. The pex tubing is embedded into a 2” thick concrete topping slab and has a spacing of 9” on center to increase its efficiency.
450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
Sustainability Strategy
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Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
North Western Axon
North Eastern Axon
Axons
South Western Axon
South Eastern Axon
450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
Wall Construction Axon
Structure
Structural Axon
Structural Perspective
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CHRISTOPHER KELUSAK | SELECTED WORKS
450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014
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Course Description This course’s purpose was to design a building based off of the idea of recreational relaxation located on the island of Jarvon, Finland. The strategy I took while designing this project was to open up the site along the coast for activities and the major spaces, while leaving the rear of the site spars and relatively untouched to allow for individualized exploration leading to small sauna’s for relaxation.
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FINNISH RELAXATION class: ARH 608 instructor: alexa getting year: spring 2014
micro communities, micro housing, san Francisco, material expression, Revit, 3ds max
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| FINNISH RELAXATION | RENDERING Site and Building Sections
RENDERING Axon from South East
CHRISTOPHER KELUSAK | SELECTED WORKS
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DN
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2
2
001 - 12 - First Floor 1/16" = 1'-0"
001 - 12 - First Floor 1/16" = 1'-0"
UP
ILLUSTRATIONS Floor Plan [Same page 1 & 2, Adjacent page 3 & 4]
UP
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UP UP
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9/1 6"
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ww
Consultant Address Address Address Phone
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ILLUSTRATIONS Section Drawings
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www.autodesk.com/revit
Consultant www.autodesk.com/revit Address Address Address Phone Consultant Address Address Address Phone
Consultant Address Address Address Phone
Consultant Address Address Address Phone
Consultant Address Address Address Phone
Consultant Address Address Address Phone
Consultant Address Address Address Phone
Consultant Address Address Address Phone
Consultant Address Address Address Phone
Consultant Address Address Address Phone
No.
Description
Description
Date
Date
Owner Owner Project Name Unnamed Project Name Project Number
ILLUSTRATIONS Detail Section Drawing
No.
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RENDERING Entry Level
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| FINNISH RELAXATION | RENDERING Upper level breakout space
RENDERING Top Western elevation, Bottom Southern Elevation
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Thank you! To all the people that have supported me throughout my time in school including my parents, family, friends, professors and anyone else that I have worked with in the past few years.
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