Chris Kelusak Selected works Fa 13 & Sp 14

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

CHRISTOPHER KELUSAK | SELECTED WORKS

4|

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

6 | 23

chris kelusak

doron serban, monica neiman sotomayor,

year: spring 2014

ACADIA 2014

1525 FAHRENHEIT

24 | 37

class: ARH 619 comprehensive studio instructors: david Gill & richard smith year: spring 2014

MICRO COMMUNITIES

38 | 71

class: ARH 608 instructor: alexa getting year: spring 2014

FINNISH RELAXATION

72 | 89

CHRISTOPHER KELUSAK | SELECTED WORKS

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

6|

| 0123 |

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

CHRISTOPHER KELUSAK | SELECTED WORKS

8|

| 0123 |

F

G

H

N

M

K1

K2

illustrations steps 1 through 6 of the design of st. mary’s rose window

L1

| GLASS GEOMETRIES |

D

D

I2 J2 J1

G

C E

C A E

B

B

B

F

I1

illustrations steps 7 through 10 of the design of st. mary’s rose window post trimmed eight, completed geometry

CHRISTOPHER KELUSAK | SELECTED WORKS

R S

P T

O

10 | Q

| 0123 |

| GLASS GEOMETRIES |

3

6

2

7

Illustration composite drawing of the steps

8 1

5 4

CHRISTOPHER KELUSAK | SELECTED WORKS

12 |

| 0123 |

| GLASS GEOMETRIES |

ILLUSTRATION Final drawing of St. Mary’s Rose Window

PHOTO Rough CNC Milled Mold

CHRISTOPHER KELUSAK | SELECTED WORKS

14 |

| 0123 |

| GLASS GEOMETRIES |

CHRISTOPHER KELUSAK | SELECTED WORKS

16 |

| 0123 |

| GLASS GEOMETRIES |

RENDERINGS Iterations based off original geometry

RENDERINGS Iterations based off original geometry

CHRISTOPHER KELUSAK | SELECTED WORKS

18 |

| 0123 |

| GLASS GEOMETRIES |

FIGURE Grasshopper 3D Definition (Construction to Final Design)

CHRISTOPHER KELUSAK | SELECTED WORKS

20 |

| 0123 |

| GLASS GEOMETRIES |

CHRISTOPHER KELUSAK | SELECTED WORKS

22 |

CHRISTOPHER KELUSAK | SELECTED WORKS

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.

24 |

| 0123 |

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

CHRISTOPHER KELUSAK | SELECTED WORKS

26 |

| 0123 |

| 1525 FAHRENHEIT |

DRAWINGS Steps 7 through 10 of the design of St. Mary’s rose window Post trimmed eight, Completed Geometry

CHRISTOPHER KELUSAK | SELECTED WORKS

28 |

| 0123 |

| 1525 FAHRENHEIT |

PHOTOS Cast model after cleaning

CHRISTOPHER KELUSAK | SELECTED WORKS

30 |

| 0123 |

| 1525 FAHRENHEIT |

CHRISTOPHER KELUSAK | SELECTED WORKS

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

32 |

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

| 0123 |

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

| 1525 FAHRENHEIT |

GLASS CASTING

34 |

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

I525 FAHRENHEIT

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

CHRISTOPHER KELUSAK | SELECTED WORKS

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

| 1525 FAHRENHEIT |

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-

| 0123 |

-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

36 |

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

CHRISTOPHER KELUSAK | SELECTED WORKS

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.

| 1525 FAHRENHEIT |

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.

| 0123 |

CHRISTOPHER KELUSAK | SELECTED WORKS

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.

38 |

| 0123 |

MICRO COMMUNITIES class: ARH 619 comprehensive studio instructors: david Gill & richard smith year: spring 2014

Micro Communities, Micro Housing, San Francisco, Material Expression

CHRISTOPHER KELUSAK | SELECTED WORKS

40 |

| 0123 |

| MICRO COMMUNITIES |

IMAGE Exploded Structural Axon

CHRISTOPHER KELUSAK | SELECTED WORKS

42 |

| 0123 |

| MICRO COMMUNITIES | IMAGE Rendered wall construction axon

CHRISTOPHER KELUSAK | SELECTED WORKS ---

-

C---

---

---

---

--------

A ---

---

---

FIGURE Building Section (Left) Corresponding Axonometric Elevation Study (Right)

---

-----

---

-

B---

-

D-----

---

44 | ---

| 0123 |

| MICRO COMMUNITIES |

ILLUSTRATIONS Details [Same page A & B] [Next page C & D]

CHRISTOPHER KELUSAK | SELECTED WORKS

46 |

| 0123 |

| MICRO COMMUNITIES | 0

0

0

1

8

2

16

1/2

4

1/2” = 1’-0”

3”= 1’-0”

6

1

1/16” = 1’-0” 48 32

Section 21 3" = 1'-0"

1

CHRISTOPHER KELUSAK | SELECTED WORKS

48 |

| 0123 |

| MICRO COMMUNITIES |

IMAGE Typical Cluster concept Rendering

CHRISTOPHER KELUSAK | SELECTED WORKS

50 |

| 0123 |

| MICRO COMMUNITIES | IMAGE Works hare Rendering

IMAGES Axonometric of Building with surrounding site

CHRISTOPHER KELUSAK | SELECTED WORKS

52 |

| 0123 |

| MICRO COMMUNITIES |

CHRISTOPHER KELUSAK | SELECTED WORKS

54 |

| 0123 |

| MICRO COMMUNITIES |

CHRISTOPHER KELUSAK | SELECTED WORKS

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.

56 |

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.

| 0123 |

| MICRO COMMUNITIES |

CHRISTOPHER KELUSAK | SELECTED WORKS

58 |

| 0123 |

| MICRO COMMUNITIES |

CHRISTOPHER KELUSAK | SELECTED WORKS

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”

60 |

| 0123 |

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

UP

UP

D

A

B

0

4

8

1/8” = 1’-0” 24 16

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

N

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

UP

L

K J

I

G E

F

H

DN

A

B

C

D

DN

UP

DN

0

4

8

1/8” = 1’-0” 24 16

Ground Floor Plan @ 0’ - 0”

| MICRO COMMUNITIES |

450 Hayes Street Micro Units

CHRISTOPHER KELUSAK | SELECTED WORKS

450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014 DN

DN

DN DN DN

0

4

8

1/8” = 1’-0” 24 16

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

4

8

1/8” = 1’-0” 24 16

Second Floor Plan @ 20’ - 0”

62 |

| 0123 |

Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014

0

4

1/8” = 1’-0” 24 16

8

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

4

8

1/8” = 1’-0” 24 16

Elevations

| MICRO COMMUNITIES |

450 Hayes Street Micro Units

CHRISTOPHER KELUSAK | SELECTED WORKS

450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014

Ivy Street Elevation

0

4

Hayes Street Elevation

8

1/8” = 1’-0” 24 16

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

0

4

8

1/8” = 1’-0” 24 16

Sections Section Key

64 |

| 0123 |

Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014

Section C

0

4

8

1/8” = 1’-0” 24 16

Sections

Section B

450 Hayes Street Micro Units Chris Kelusak 02574302 arh619 Graduate School of Architecture Academy of Art University May 13th, 2014

Section E

Section D

0

4

8

1/8” = 1’-0” 24 16

Sections

| MICRO COMMUNITIES |

450 Hayes Street Micro Units

CHRISTOPHER KELUSAK | SELECTED WORKS

450 Hayes Street Micro Units

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

1

2

4

6

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

66 |

| 0123 |

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

| MICRO COMMUNITIES |

450 Hayes Street Micro Units

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

68 |

| 0123 |

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

| MICRO COMMUNITIES |

450 Hayes Street Micro Units

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

70 |

| 0123 |

| MICRO COMMUNITIES |

CHRISTOPHER KELUSAK | SELECTED WORKS

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.

72 |

| 0123 |

FINNISH RELAXATION class: ARH 608 instructor: alexa getting year: spring 2014

micro communities, micro housing, san Francisco, material expression, Revit, 3ds max

CHRISTOPHER KELUSAK | SELECTED WORKS

74 |

| 0123 |

| FINNISH RELAXATION | RENDERING Site and Building Sections

RENDERING Axon from South East

CHRISTOPHER KELUSAK | SELECTED WORKS

76 |

| 0123 |

| FINNISH RELAXATION |

CHRISTOPHER KELUSAK | SELECTED WORKS

DN

DN

DN

DN

DN

DN

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

78 |

UP UP

UP

UP

UP

UP

| 0123 |

2' 9

9/1 6"

| FINNISH RELAXATION |

ww

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.

O

Proj

Un Project Number Date Drawn By Checked By

Scale

A

ILLUSTRATIONS Section Drawings

CHRISTOPHER KELUSAK | SELECTED WORKS

80 |

| 0123 | | FINNISH RELAXATION |

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.

CHRISTOPHER KELUSAK | SELECTED WORKS

82 |

| 0123 |

| FINNISH RELAXATION |

CHRISTOPHER KELUSAK | SELECTED WORKS

84 |

| 0123 |

| FINNISH RELAXATION |

RENDERING Entry Level

CHRISTOPHER KELUSAK | SELECTED WORKS

86 |

| 0123 |

| FINNISH RELAXATION | RENDERING Upper level breakout space

RENDERING Top Western elevation, Bottom Southern Elevation

CHRISTOPHER KELUSAK | SELECTED WORKS

88 |

| 0123 |

| FINNISH RELAXATION |

CHRISTOPHER KELUSAK | SELECTED WORKS

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.

90 |