CAP Project Document

COMPREHENSIVE ARCHITECTURAL PROJECT 2012 PROJECT DOCUMENT

UNIVERSITY OF NORTH CAROLINA - CHARLOTTE

CHRIS STEUDE

TABLE OF CONTENTS FALL

TITLE TABLE OF CONTENTS PROJECT TOPIC DESCRIPTION BUILDING CONCEPT CONCEPT PROPOSAL PRECEDENTS: SITE ANALYSIS PRECEDENTS: PROGRAM ANALYSIS

QUARTER

THE BREWERY SYSTEM

MIDTERM

PRECEDENTS: SUSTAINABILITY PRECEDENTS: MATERIAL ANALYSIS

THREE QUARTER FALL TERM

SPRING

SPRING REDESIGN

PRECEDENTS: STRUCTURE

PROJECT AT MIDTERM SYSTEMS

FINAL PROJECT BIBLIOGRAPHY

PROJECT TOPIC DESCRIPTION August 24, 2011 The idea of a craft brewery project appealed to me immediately upon reviewing my available options. Not just as a beer lover, but as a lover of industrial processes. I’ve always had a fascination with anything involving tanks or tubes or assembly lines. There exists a certain beauty to the complexity of manufacturing something in any large quantity. The increase in the quantity of a product to be created likewise intensifies the impact of any problematic design elements. But any brewery project begins with a set of given values. It is tempting to pour a whole host of design ideas into a brewery project. However, such ideas cannot impede on the ability of a brewery to make beer, and if at all possible it must strengthen that ability. So I approach this project knowing that there will be certain concrete values and forms that will dictate the building’s design. Those forms become a challenge to either incorporate into the architecture or provide a backdrop to create contrasting elements.

Despite the very real concern that a brewery must indeed produce large quantities of beer, the craft brewer is creating a product who’s selling point is its human touch. When a consumer opts for a microbrew, the existence of a higher degree of personal care is implied by that bottle’s label. Many breweries, such as Kansas City’s Boulevard, pride themselves on having a small, knowledgeable, and close-knit staff. So the modern brewery has become more like a “beer museum”. No longer a purely industrial enterprise, modern breweries can expect many visitors to their facility. The barriers that previously existed between producers and consumers are eroding, and the most successful small breweries are those that have made their facilities more accessible to the public. Beer drinking is, after all, a primarily social event. So many modern breweries have provided elaborate tasting rooms and beer gardens as incentives to attract customers.

My proposal with this project is to create a brewery that emphasizes access. There is not impetus necessarily to separate “back of house” day-to-day operations from the publicly accessible areas. An outsider coming to the brewery today is someone who wants to know about where his or her beer comes from. Making a brewery that gives full access and visibility to its product is one that must offer quality, as it would not have the option to obscure its operations. It’s a concept that meshes well with modern concerns regarding foods and beverages.

As more and more of the things we consume become massproduced in increasingly obscure ways, there is a need for craft and care in the beverage world.

Accessibility and visibility are not about simply designing an all glass building connecting the brewery with the outside world.

They require an interweaving of public and private spaces. So a building that provided access to places usually prohibited in this building type would indicate a willingness on the part of the brewery to open itself up. Just because the tanks have to be sealed and air-tight doesn’t mean the design has to be.

BUILDING CONCEPT

CONCEPTUAL DISTILLATION - MID SEPTEMBER 2011 I began this project with the idea of “access”. I intended to design a brewery that allowed the visitor the opportunity to experience all aspects of the brewery process without separation. That idea became refined through examining the path that a visitor the brewery may take. I sought to create a design that illustrated a multiplicity of paths through its structural expression as well as its exterior form. A path in this case is representative of a linear progression through an environment. For brewing, each stage in the transformation from grain to wort to beer is a step along a path. Beer-making is a set process with a time table that expands and narrows depending on what point the batch has reached. So, even in the rigid assembly-line system in which modern breweries, there are variances. So too with a building designed with the visitor in mind, the experiences are defined less by the immediate experience and more by the overall movement through the structure. Elements of transition and passage provide the framework for the experience and give it meaning. No single space in the building can be a lone actor.

The visitor’s experience must be informed by the interaction of individual spaces within the whole.

Motion through the building moves along several tracks, each intersecting at one of two nodes: the Lobby and the Restaurant.

The first is the visitor track, which moves from the public entry into the lobby and then into the store and/or restaurant spaces.

The second is the brewery operations track which provides the essential services and production capabilities of the brewery.

The third is the private track leading from the public lobby to the brewery admin spaces. These main three ways of moving through the building should therefore inform the interplay of spaces.

The notion of paths gives way to linearity. The site’s surroundings are filled with linear elements in the adjacent rail lines, the power lines that use the river valley as a right-of-way, the strong horizontal thrust of the four nearby bridges, and the vertical punctuation of the existing smokestack. The site therefore calls for strong, straight lines rather than curvilinear forms. This sets it in contrast with the rounded naturalism of the river across the street. In its place in between two existing industrial structures, the brewery design would necessarily respond to the straight lines of mill buildings.

To give both literal and figurative structure to the building, I began with the dimensions of the existing buildings as the basis for a new grid onto which the brewery will be laid. This building lies on a primary 36’-0” grid that is further subdivided into 6’-0” modules. Within this framework it should be possible to set up several project rules that can come to define new spaces. A main structural framework can be laid on the 36’0” grid, with smaller columns within this framework. These smaller columns would slant and rotate based on their location within the grid. The combination of these rules would create a perception of randomness that is actually based on a specific order.

The exterior envelope of the building is to be wrapped in horizontal elements, reflecting the strong horizontality of the context. These elements would become versatile facade elements, acting as windows, shades, or rails as needed. These would be governed by the same rules as the vertical columns, but become a versatile system within this set of rules.

CONCEPTUAL FERMENTATION - LATE OCTOBER, 2011 Thus far I have looked at the experience of the brewery visitor as a progression. This progression has been primarily expressed as a linear form, occasionally branching off at prescribed nodes, with some emphasis on transition. I took the notion of linearity and developed a system of vertical elements that function as the framework of the building design. I worked on this as a means to derive the sectional qualities of the building.

For horizontal expression of the design, I began to apply a series of horizontal elements that wrap the building. These

would become multi-functional bands that would weave through the vertical matrix of the columns. In part, this was inspired by the criss-crossed pattern of the traditional mash rake used in brewing beer. For public areas, this method produces a more irregular facade that moves in and out in response to column locations. For the brewery and kitchen areas, a more regular facade was derived for the form. This would allow these areas to function more efficiently.

A few questions came out of the mid-term review: Does it make sense to have mix weaving bands with slanted columns?

Should my grid be a square grid like I have it now or should it get shifted in the same way as the columns? Should I reexamine the over-arching elements of my parti models? How should I express my roof? And does my progression through the existing building as an object make sense?

The question of weaving bands and slanted columns is one that will become crucial when detailing their junctions. Twisting or rotating the bands to meet the column angle seems to be difficult given the current “rule-based” framework. How can I respond to this condition without adding too many rules into an already complex system?

The grid that was derived from the existing building starts first in its north-south longitudinal lines. This is the 36’ module that gives the column system its dimensions. I had placed the transverse grid lines along the same distances to create a square grid. This allows the rotational system that derives the slanted columns to happen cleanly. If I were to skew the grid horizontally at all, it would disrupt the logic of the vertical.

The over-arching parti elements gradually were pared down as I tried to make the linear elements of the building into something more functional. In doing so, it rendered a building that lacked a major linking element. I want to explore a way to unite the new building forms and the existing structures once more that would also break up the massiveness of the current form. Taking the horizontal elements and breaking the roof plane into “shards” may be a way to do that.

Lastly, I need to examine more closely how to incorporate the existing site elements into my design. I feel like this could be worked out through answering some of the above questions.

These two structures are important parts of the site, and they should be incorporated in a way that not only takes advantage of their entropic qualities but also justifies their preservation.

COMPREHENSIVE ARCHITECTURAL PROJECT 2012 SITE DOCUMENTATION

CHRIS STEUDE

LOCATION Buncombe County lies in the western part of North Carolina, surrounded by mountains.

THE FRENCH BROAD RIVER VALLEY Asheville is the principal city in this valley amid the Blue Ridge Mountains.

The headwaters of the French Broad River begin South of Asheville.

These waters flow into the Tennessee River and eventually into the Gulf of Mexico.

ASHEVILLE Asheville is a diverse city built at the confluence of the Swannanoa and French Broad rivers. The city is also a crossroads for interstates 26 and 240, which connect Asheville to other Appalachian cities. Railroads are an important feature to the city, as they were one of the first means of arrival for visitors to what has become a tourist destination.

Today, both the city’s artist-friendly atmosphere and its thriving craft brewery industry attract visitors every year.

RIVER ARTS DISTRICT Just west of downtown Asheville, the River Arts District is a former industrial zone being reborn. Artists and galleries have moved into the former mill buildings. Restaurants and bars have also moved into the area to take advantage of the new visitors to the city’s burgeoning cultural center.

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SITE This plot of land is 2.6 acres of brown field land located within sight of the French Broad River. The Norfolk Southern Railroad leading out of Asheville’s rail yards runs behind the site, creating a solid barrier to the plot’s eastern edge.

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French Broad River TOPOGRAPHY The site itself is mostly flat, rising slightly from the road to the railroad. This means that most of the site lies within the French Broad River floodplain.

The adjacent elevated residential district across the tracks is higher than the top of the existing buildings.

FLORA While the site was once industrial mill property, it has become greener since the mill was destroyed. Most of the site is overtaken by thick grass, poison ivy, and wild thorn bushes.

There are a few large sycamore trees along the property edges, with some smaller sycamore saplings among them.

The buildings themselves are being enveloped by virginia creeper and other vines.

Also, the poor drainage at the site’s northeastern corner has created a swampy area inhabited by cattails and other moisture-loving plants.

HISTORY This site was once the site of a large Reconstruction era cotton mill. The mill was destroyed by fire in 1995, leaving only three fragments of the mill complex, two of which are located on site. The third fragment is now occupied by the Cotton Mill Studios. The hill across the tracks to the east of the site is known locally as “Chicken Hill�, and still remains a quiet residential district.

The mill grew up along the railroads that connect the cottongrowing lowcountry of the Carolinas with the coal fields of Appalachia. These railroads are still an important part of the surrounding neighborhood, with a large sorting yard to the south of the site.

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CONTEXT Post-industrial districts were not designed to the same standards as today’s urban neighborhoods.

Riverside drive is the main access to the site, but it is narrow, and not amenable to pedestrian travel. Still, there is relatively little traffic on Riverside Drive compared to other streets in the area.

While there is a bridge adjacent to the site, it is the least used of the three bridges in the area.

Aside from the 2-story Cotton Mill Studios next door, most other buildings in the area are single-level industrial buildings that are not as tall as the buildings on the site.

NEIGHBORHOOD LAND USE The core of the River Arts District lies in the galleries and entertainment spaces (yellow). Most residents (green) in the area live on the higher ground of “Chicken Hill� above the river. Otherwise, a large number of structures in the area remain industrial sites or are abandoned (orange).

LOCAL LANDMARKS A. Hangar Hall (Historic School for Girls) B. Cotton Mill Studios C. Wedge Brewery D. Curve Studios E. Clingman Cafe

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NEIGHBORHOOD DEMOGRAPHICS Buncombe Census District 9 Population: 3,952 Median Age: 35.9 Income: 62% under $30,000/year 16% $30,000-50,000/year 10% $50,000-75,000/year 8% $75,000-100,000/year 4% over $100,000/year 65% of residents rent 35% are homeowners Education: 81% high school or higher 18% bachelors degree or higher 5% masters degree or higher Race Distribution: 56% African-American 41% Caucasian 2% Hispanic 1% Other

EXISTING BUILDINGS Building “A” is a single-roomed building with a tall smoke-stack. A large area of the room is taken up by two boilers. High windows bring natural light in along the west and south sides.

4’ High Platform 36’ x 60’

West Elevation

Building “B” exists in a fragmentary state.

Due to its proximity to the center of what was once the mill complex, the building was heavily damaged by the 1995 fire. Along the railroad side of the building, steel beams bent by the fire still protrude from what is now an exterior wall. In addition it has been further damaged by vandalism and the elements.

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ISSUES AND CHALLENGES: WALKABILITY Within a .25 mile circle of the site most streets are narrow with very few sidewalks. New street construction around the Haywood Road bridge has added sidewalks and improved pedestrian access to the southern parts of the River Arts District. However, the upper end of the RAD where the site is located remains inaccessible to the rest of the neighborhood.

VIEWS The site is highly visible from several off-site angles. Due to its low location beside the river, several locations actually look down into the site from above. This includes pictures B and C, taken from Roberts Street, and picture A, taken from the Smith Bridge across the river. Additional views into the site will come from the heavily traveled Interstate 26/240 bridge (E)

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This means the primary direction of engagement is towards the southwest, in the direction of the river, rather toward the rest of the RAD to the south and east.

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PHYSICAL BARRIERS Major physical barriers include the railroad, the interstate and the Haywood Road bridge to the south.

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ISSUES AND CHALLENGES: NOISE Two main noise sources are adjacent to the site.

Multiple trains pass by the site every day, often stopping and starting again as cars are unloaded nearby. The other main source of noise in the area is from traffic at the intersection of West Haywood Road and Riverside Drive nearby.

Further away, some noise also comes to the site from the nearby interstate bridge and industrial sites in the vicinity.

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RIVERLINK AND THE WILMA DYKEMAN RIVERWAY The site is currently the property of Riverlink, a non-profit organization advocating revitalization of the French Broad River corridor and the Swannanoa River through Asheville.

Together with the riverfront property across Riverside Drive, the site is in a special “River” zoning class. This categorization acknowledges the special characteristics of this property’s riverside location.

The Wilma Dykeman plan calls for commercial lofts and/or live/work condominiums in the site’s location, with other magnet buildings adjacent, including a proposed sustainable health spa in addition to the existing arts draw. The authors of the plan make it clear that Riverlink intends any new development in the area would foster the artistic development of the River Arts District, rather than set itself apart from its environment.

WINTER SUN PATHS The winter means long shadows, which at 9 AM cast shade across much of the southern portion of the site.

SUMMER SUN PATHS The summer means fewer morning hours where the site is shade covered. However, the southeast elevations of both buildings get some afternoon shade that they do not get during the winter.

CLIMATE Asheville’s climate is cooler than much of the rest of North Carolina owing to its altitude. Most of the year, exterior temperatures are below the comfort level for interior heating and cooling systems, although the summer months do bring a lot of heat.

SUN PATH DIAGRAM While the site has some solar exposure on the northern side in the Winter months, the north-south orientation of the river valley means that the earliest and latest daylight hours will potentially be blocked by hillsides. Otherwise, the city is a typical middle latitude location.

AVERAGE RAINFALL Asheville and Buncombe County receive on average the same amount of rain as much of the piedmont farther east.

However, it is surrounded by higher elevations that receive much higher rates of precipitation. So even if there is no rain in Asheville itself, the French Broad River’s upper watershed can expect a much higher amount of rain than the rest of the state.

PREVAILING WINDS Winds in the French Broad valley primarily come from the north and south. The northsouth orientation of the valley may increase the intensity of these prevailing winds.

PRECEDENT STUDY: WAYNE L MORSE FEDERAL COURTHOUSE EUGENE, OREGON

BY MORPHOSIS Given little context to work with, the architects of the Wayne L Morse Courthouse set the building apart from the ground plane. This is another site that is near a river but not adjacent. Rather than surround the building with the security bollards typically required of a federal courthouse, Morphosis surrounded the buildings with raised planting beds. This ends up isolating the building from the ground.

In this court house, the architects treat the “showpiece� portion of the building - the court rooms themselves - as a ribbon-wrapped curvilinear forms sitting atop a rectangular box.

This sets the building apart from the building’s context, creating a clear message that this is a more important building than its mundane surroundings would suggest.

The building sits in downtown Eugene like a cruise ship at port, foreign in its size and materials.

PRECEDENT STUDY: FLINT RIVERQUARIUM ALBANY, GEORGIA

BY ANTOINE PREDOCK In contrast to the Eugene federal Courthouse, Predock partially buries his Flint Riverquarium in the topography of the Flint River bank. The building is organized around a large “blue hole” pond that serves as an exhibit unto itself. The building also draws upon local history in evoking Native American burial mounds.

The Riverquarium’s mounded form and native materials tie the building to its location.

The section shows the building’s geologic blue hole that blends into the building’s fabric, making something that seems inextricable from its site.

COMPREHENSIVE ARCHITECTURAL PROJECT 2012 PROGRAM ANALYSIS

CHRIS STEUDE

The program for this brewery can be divided into five distinct zones.

Central to these zones is the Brewery Floor, which will need to establish connection to the other areas while insulating them from the more industrial aspects of brewing.

On the Public side, two main commercial spaces are needed - a restaurant and a store. These spaces must engage brewery customers and provide a public identity for the brewery. Connecting the two spaces is a lobby which will be a place of assembly for tours.

Connected to this lobby is a demonstration theater which would further serve to acquaint visitors with the brewery even before they tour the floor.

In addition to these highly public spaces, the program calls for a private office area, where the daily business matters of the brewery are handled.

Also on site will be an exterior patio that will take advantage of Asheville’s cool mountain evenings.

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PROGRAM PRECEDENT 1: MILL CITY MUSEUM, MINNEAPOLIS, MN A large museum built within the shell of a former flour mill. This museum uses old industrial spaces for new purposes. It allows the original building to exist apart from the new program. It respects the existing building while also creating a clearly new space for offices and exhibits.

PROGRAM PRECEDENT 2: DOGFISH HEAD BREWERY, MILTON, DE This is an expansion to the existing Dogfish Head brewery in Milton Delaware.

The project, by DIGSAU architects, added a new face to the original building which is a nondescript precast and brick industrial warehouse.

The new addition adds offices, a store, and new public spaces on the interior. The exterior gains new identity with the addition of game spaces, tanks, and an iconic “steampunk tree house”.

1 MASH 2 LAUTER 3 The Brewery Floor is the beating heart of the entire brewery complex. It is a place of production and assembly, and will require all the considerations that come along with such spaces. It will have to be tall enough to house the fermentation and filtration tanks and must have ample room for forklifts to maneuver. Over half of the brewery floor is devoted to storage.

This is not a series of spaces that will have lavish finishes, but it will be a highly visible space.

Regular tours will have to be accounted for. So it is crucial that the space be designed not only as an efficiently functioning industrial space but as an educational space as well.

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BREWERY FLOOR 1. MASHING AND STIRRING - 600 2. LAUTER TUN - 600 3. FERMENTATION TANKS - 600 4. FILTRATION TANKS - 600 5. BOTTLING LINE - 600 6. CASE AND KEG STORAGE - 5000

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While the Mill City Museum does not have a brewery, of course, it is still a former industrial factory.

In this case, it is built within what was once a flour mill. It has retained this Victorian industrial feel in some locations, such as the train corridors which still bear the tracks where boxcars once lined up to serve the mill.

The floor of the Dogfish Head brewery is a typical industrial warehouse. It has plain concrete floors and the roof structure above is exposed.

3 2 1 LOBBY The brewery today functions as a museum of beer, demonstrating the beer-making process for the public. This educational component of the program becomes a point of departure for tours and events, and provides a point of transition into the interior world of the brewery. The public face of the brewery is here, and it must be a space that welcomes new visitors in, as well as providing sufficient organization to access the other building functions.

The theater is a space that can be used in multiple ways. During the day the theater serves as an educational and informational space. In the evenings as the brewery environment becomes increasingly social, the theater could become a movie house or a location for musical performance in the event of rain.

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LOBBY/THEATER 1. LOBBY - 500 SF 2. PUBLIC TOILET - 400 SF 3. PUBLIC TOILET - 400 SF 4. RECEPTION - 200 SF 5. DEMONSTRATION THEATER - 1600 SF (6. STAGE - 150 SF) 7. PROJECTION - 150 SF 8. STORAGE - 100 SF

The main exterior space of the Mill City Museum is the enormous rear courtyard, but from its street side, visitors are brought into a dark and intimate lobby on the third level above the courtyard. The museum thus sets up an interplay between the old and new buildings that share this space, drawing visitors to places where the two interact.

It also incorporates an existing freight elevator as an interpretive theater, which creates a backdrop that changes as the elevator moves throughout the building.

The public entrance of the Dogfish Head brewery is comparatively small. Its proximity to the offices of the brewery erodes the separation between visitors and employees, reinforcing the communal idea behind the Dogfish Head brand.

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3 2 The restaurant section of the building will be the site of the most informal interactions visitors will have with the brewery.

This will be a place where people can come, enjoy the brewery for whatever time they wish, and leave whenever they please. This is a way of experiencing the building that contrasts somewhat with the demonstration theater that would kick off guided tours.

A restaurant obviously embodies many practical concerns, as well. Its kitchens will need exterior access that is separated from any other exterior access the restaurant may have.

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RESTAURANT 1. RESTAURANT DINING - 4000 2. PUBLIC TOILET - 375 3. PUBLIC TOILET - 375 4. KITCHEN - 1500 5. GENERAL STORAGE - 500 6. SECURE STORAGE - 250

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Public dining in the Mill City Museum tends to be limited to its small utilitarian cafe. However, special events transform the lobby space into an impromptu restaurant environment.

The abundance of natural light and the clear expression of the building’s structure create a grand dining environment that still retains elements of the museum’s former industrial nature. This enables the dining experience to strike a balance.

It can be informal, without seeming cheap or unplanned.

While Dogfish Head began in a brew pub restaurant in Rehoboth Beach, Delaware, its current brewery location does not have onsite dining facilities.

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Here is where the company identity is most strongly enforced. The store represents the company’s actual product. While a beer enthusiast can enter the restaurant and order a draught beer to receive the on-brewery experience, the store would stock bottled beer that would not be different than beer bought in one’s local grocery store.

Thus, the store will have to distinguish itself from only selling rote take-home six packs. Even branded merchandise would is not necessarily a draw in a world in which so many purchases are made online.

So, much like the restaurant, the store should be an experience - part of the attraction of visiting the brewery, rather than merely the final tour stop.

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STORE 1. STORE - 3000 SF 2. STOCK - 1000 SF 3. TOILET - 100 SF

The Mill City Museum store uses the exposed masonry and bare columns of the original mill walls. Steel framing matching the new floor construction forms shelving, making the merchandise display an integral part of the building’s design rather than a prefabricated shelf ordered as an afterthought.

Even thought the store is filled with goods, the structure and the building’s monumentality is still expressed openly.

Dogfish Head’s store is a more informal space than the Mill City Museum’s store. The goods available here are somewhat limited, but the ample space provides opportunity for special events in the store itself.

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1 The administration area of the brewery is a part of the building that comparatively few people get to see. That doesn’t meant its spaces should be an afterthought.

Brewery employees will need a space that functions based on the particular needs of this building type. The usual style of office design will not work for this building type. The whole facility is an extension of the office space, and the administration suite will need to establish connection to the other building components in order to fully integrate into the functional fabric of the brewery.

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ADMINISTRATION 1. RECEPTION/WAITING 2. BREWMASTER 3. ASSISTANT DIRECTOR 4. FINANCE 5. EDUCATION COORDINATOR 6. MARKETING 7. ADMINISTRATIVE ASSISTANT 8. CONFERENCE 9. KITCHEN/BREAK 10. WORK ROOM 11. SERVER CLOSET 12. EXECUTIVE WASHROOM

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While housing exhibits about the milling history of Minneapolis is the museum’s ostensible function, most of its upper floors are taken up by office space. These offices are serviced by a new glass elevator connected to the rest of the new building with walkways and balconies. The layered interplay of the courtyard facade creates a series of offices that are never exactly the same from floor to floor, keeping the upper floors from seeming like mere blank square footage.

Office space in the Dogfish Head brewery is open, with abundant natural light. Low natural wood partitions foster collaboration and community among employees. A long, continuous ribbon window connects the office space with the exterior entry.

By contrast, the conference room is embedded deep into the building, with one view into the brewery, and another into the offices.

The knotty natural wood finishes of the exterior are continued in the interior walls throughout.

1 PATIO The exterior space of the brewery must have an outdoor area for performances and receptions.

This patio would provide a space for the brewery to engage the surrounding neighborhood of the River Arts District and the river itself. This space must be covered in some way.

Patio use is highly influenced by the environment beyond the site. The adjacent railroad will be a negative factor for the patio due to the noise and pollution that comes with the trains.

In addition to this patio space, the exterior will require access for loading delivery trucks, as well as delivery to the kitchen and store spaces. This will create a substantial service area along with the crucial public side of the building.

EXTERIOR 1. EXTERIOR PATIO - 4000 SF

The museum’s courtyard is the place where the past and present collide most overtly. The high, stark walls of the former mill creates a scaenae frons for musical performances and other events. Use of its courtyard is no doubt influenced by its location along the city’s river greenway, linking the individual museum building with a larger system of parks.

This exploded diagram shows the new interventions into the existing warehouse from the exterior. The designers decided to move their tanks to the exterior of the building to express the building’s purpose outside the building envelope. Landscaping and game courts played an important role in creating a new place for visitors to congregate and for the brewery to host events.

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VOLUMETRIC STUDY: The discreet zones of this building do not exist as only square footages. The very specific uses of these spaces will require a varied expression of height.

Some spaces will be broad and low, such as the floor of the store. Other spaces will be much higher. This is particularly true of the brewery, whose storage function will necessitate large areas of square footage that also will reach high enough to incorporate the filtration and fermentation tanks.

Orange - Central public spaces Yellow - Ancillary public functions (toilets, etc.)

White - Brewery functions

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MODERN CRAFT Microbreweries have proliferated in the past few decades. In the sea of new breweries emerging across the United States, new breweries cannot rely on an old, established brand to make them successful.

They are not AnheuserBusch. So the modern microbrewer must be housed in a building that allows the company to demonstrate their corporate identity. This building has to create an environment that visitors can come to and feel invested in the beer-making itself. It must be a brewery without barriers.

Barriers, both horizontal and vertical are natural elements to any building type. But any potential brewery design should minimize those building elements that do not foster access and connection across otherwise unlinked program spaces. Where floors can be peeled back or walls perforated, it should be done. This will enable program spaces to flow into one another instead of existing as discreet zones.

THE EARLY PARTI OF THE PROJECT EXAMINED THE NOTION OF MOVEMENT ACROSS THE SITE. I HAD FOCUSED ON FORM CREATED

BY PERMEABLE STRIPS. RATHER THAN CREATING A BOX FOR THE BREWERY TO FIT INTO, I WAS LOOKING TO CREATE A FORM THAT EXPRESSED ITSELF THROUGH LAYERS.

SCHEMA ONE: CONNECTION IN THIS PARTI, THE MAIN GOAL IS TO ESTABLISH CONNECTION ACROSS THE VARIOUS SURFACES OF THE SITE AND BUILDING. ARMS EXTEND AROUND THE BUILDING TO UNITE DISPARATE SPACES

SCHEMA TWO: STACKING THIS VERSION OF THE PARTI STACKES ROOF PLATES LEADING TO THE BREWERY SPACE. THE WRAPPING ARMS STEM FROM ONLY TWO LOCATIONS ACROSS THE SITE. THE PROGRAM WOULD BE ORGANIZED AROUND A CENTRAL CIRCULATION SPINE.

FIRST QUARTER REVIEW

SCHEMA THREE: CURVES THIS VERSION OF THE BUILDING ORGANIZES ITSELF AROUND TWO LONG, CURVING WALLS

SCHEMA FOUR: RAMPWAY TWO LARGE ARMATURES IN THIS PARTI MODEL BECOME THE MAIN ORGANIZING ELEMENTS. THE BUILDING WOULD BEAR A LARGE RAMP ACROSS THE FRONT ON ONE ARMATURE.

SCHEMA FIVE: TENDON THIS FORM ALSO USES TWO LONG WALLS TO ORGANIZE THE BUILDING, AND BRINGS THE MAJOR INDUSTRIAL TRAFFIC THROUGH THE HEART OF THE BUILDING ITSELF.

SCHEMA SIX: SIMPLIFIED AT THIS POINT THE IDEA WAS TO CREATE A SIMPLIFIED AND LARGELY PROGRAMMATIC APPROACH TO THE PARTI PROCESS WITHOUT ESCHEWING THE IDEA OF PROVIDING ACCESS TO THE WHOLE BUILDING’S PROGRAM.

FIRST QUARTER REVIEW

THE BREWERY SYSTEM COLD STORAGE IS NECESSARY BOTH FOR STORING HOPS AND FINISHED BEER

THE PROCESS OF BREWING CONSISTS OF THREE MAIN STAGES: MASH, BREWING, AND FERMENTATION. THE RAW GRAIN IS FIRST CONVERTED INTO MALT AND MADE INTO A “MALT SOUP” CALLED THE “SWEET WORT”. THIS PROCESS CAN TAKE UP TO TWO HOURS TO COMPLETE. IN THE SECOND STAGE, MALT FROM THE MASH IS COMBINED WITH THE HOPS IN THE BREW KETTLE. THIS STAGE USUALLY TAKES ABOUT 90 MINUTES.

8 PINTS OF BEER = 1 GALLON 31 GALLONS OF BEER = 1 BARREL AVERAGE BREW KETTLE = 600-100 BARRELS

THIS MIXTURE IS THEN TRANSFERED TO THE FERMENTATION TANKS. FERMENTATION USUALLY TAKES ABOUT THREE WEEKS, THOUGH SOME BEERS (SUCH AS LAMBICS) CAN TAKE UP TO A YEAR. IN THIS PHASE, THE YEAST IN THE MIXTURE CONVERTS THE MALT SUGARS INTO ALCOHOL. ONCE THE BEER IS READY TO LEAVE THE FERMENTATION TANKS, IT IS FIRST FILTERED, THEN PACKAGED INTO BOTTLES OR KEGS.

AMERICAN BREWERIES THE AMERICAN BREWERS ASSOCIATION DESIGNATES TWO DISTINCT CLASSIFICATIONS OF BREWERY. A CRAFT BREWERY IS ANY BREWERY THAT PRODUCES SIX MILLION BARRELS OF BEER OR LESS PER YEAR. A MICROBREWERY BREWS FEWER THAN 15,000 BARRELS EACH YEAR. THE PROGRAM FOR THE RIVER ARTS DISTRICT BREWERY IS IN LINE WITH THE SIZE OF MANY LARGER MICROBREWERIES. TYPICALLY, A BREWERY IS PRESIDED OVER BY A BREWMASTER, WHO SERVES AS THE FACILITY’S TECHNICAL DIRECTOR. THE BREWMASTER OVERSEES THE BREWING PROCESS IN ADDITION TO RUNNING THE BUSINESS SIDE OF THE BREWERY. MANY INDEPENDENT BREWERS IN AMERICA ADHERE TO THE REINHEITSGEBOT PURITY LAW OF 1516, WHICH RESTRICTS THE INGREDIENTS OF BEER TO WATER, MALT, HOPS AND YEAST. HOWEVER, OTHERS WILL ADD MORE INGREDIENTS TO CREATE SPECIALTY BEERS. MANY AMERICAN BREWERIES ALSO USE A CEREAL ADJUNCT OF MALT MIXED WITH UNMALTED GRAINS AS THE BASIS OF THEIR BEER.

PRODUCTION BY SELECTED AMERICAN CRAFT BREWERIES (IN BARRELS) SIERRA NEVADA (CALIFORNIA) 786,000 NEW BELGIUM (COLORADO) 582,000 SPOETZEL (TEXAS) 250,000 STONE (CALIFORNIA) 250,000 BOULEVARD (MISSOURI) 149,000 VICTORY (PENNSYLVANIA) 82,000 DOGFISH (DELAWARE) 75,000 SWEETWATER (GEORGIA) 75,000 ROGUE (OREGON) 66,000 FLYING DOG (MARYLAND) 50,000 LOST COAST (CALIFORNIA) 50,000 LEFT HAND (COLORADO) 35,000 RAD BREWERY 25,000 HIGHLAND (NORTH CAROLINA) 20,000 ALLAGASH (MICHIGAN) 4,800 SLY FOX (PENNSYLVANIA) 3,600

THE FALL MIDTERM PRESENTATION OFFERED THE FIRST OPPORTUNITY TO PROPOSE A BUILDING FORM AND LAYOUT. I HAD DEVELOPED A SYSTEM FOR THE STRUCTURE BASED ON TILTED COLUMNS. THIS “DRAWING MACHINE” WOULD BECOME THE DRIVING FORCE THROUGHOUT THE PROJECT, AND WOULD DICTATE BOTH FLOOR PLANS AND FACADE EXPRESSION. THE COLUMN DRAWING MACHINE WAS INTENDED TO CREATE A FOREST EFFECT FOR THE PATIO UNDER THE BUILDING. PASSAGE INTO THE BUILDING WOULD BE VIA A WALKWAY THROUGH THE SHELL OF THE EXISTING MILL BUILDING.

MIDTERM PRESENTATION

CAN A REGULATED SYSTEM CREATE A SERIES THAT SEEMS RANDOM?

MIDTERM PRESENTATION *SYSTEM OF RULES: RULE 1: COLUMN GRID IS BASED ON A SERIES OF 6’-0” GRIDS, DERIVED FROM THE EXISTING BUILDING DIMENSIONS. RULE 2: AT INTERSECTIONS EVERY 36’-0”, PLACE THE MAIN STRUCTURAL COLUMNS RULE 3: AT INTERSECTIONS EVERY 18’-0” PLACE A SMALLER SECONDARY COLUMN RULE 4: AT ONE OF THE 4 INTERSECTIONS FORMED BY THESE 18’0” SQUARES, PLACE A “NOMAD COLUMN”

36'

?

RULE 5: ROTATE THE NOMAD COLUMNS CLOCKWISE WHEN MOVING RIGHT, COUNTER-CLOCKWISE WHEN MOVING DOWN. COLUMN TILT IS BASED ON ITS UPPER LIMIT

18'

COLUMNAR LOGIC

MIDTERM PRESENTATION VIEWSHEDS: CERTAIN PROGRAM SPACES SHOULD HAVE VISUAL CONNECTION TO OTHERS

NODES: THE LOBBY AND THE RESTAURANTS ARE HUBS OF ACTIVITY, EACH WITH SEVERAL LINES OF ACCESS.

RESTAURANT

BREWERY FLOOR

LOBBY

PATHS: THE LINEAR ELEMENTS OF THE SITE (RAILS, POWER LINES, BRIDGES) ARE ECHOED IN THE BUILDINGS HORIZONTAL AND VERTICAL ELEMENTS

ENTRY

THEATER

STORE

Administration

Store

Service Entry

Patio

Kitchen

Lobby Restaurant Brewery Operation

Mechanical Floor Storage/ Tanks

Service Exit

MOVEMENT MAP: --BLUE: PUBLIC --RED: OPERATIONS --GREEN: ADMIN --GREY: SERVICE

CONCEPT AND AXONOMETRICS

MIDTERM PRESENTATION

PROCESS VERSIONS

MIDTERM PRESENTATION

RENDERINGS

DN

Kitchen/Etc 5

Restaurant Dining

1734 SF

N

3 DN

3916 SF

Toilet 9 342 SF

DN

Toilet 10 342 SF

Admin 2 4930 SF

Second Floor Scale: 1" = 16'-0"

DN UP

Mech/ Kitchen Storage 16 1818 SF

58'-4"

DN

UP

Theater

UP

Lobby

15

1

Not Enclosed

DN

1253 SF

DN

Balcony DN

32'-0"

17 1235 SF

Shop 6 3522 SF

UP

MECH 14 601 SF

UP

N

Patio

DN

Brew Hall 11 8044 SF

Theater 7 1430 SF

UP

Ground Floor Scale: 1" = 1'-0"

Entry from Parking

UP

MIDTERM

EARLY SUSTAINABLE DESIGN

SOLAR THERMAL TUBES: THE MAIN ELEVATION FACES SOUTHWEST. THIS MEANS THAT SOLAR TUBES CAN BE PLACED ON THE EXPOSED COLUMNS ALONG THIS FACADE TO TAKE ADVANTAGE OF THE AFTERNOON SUN. THIS WOULD HELP OFFSET HEATING COSTS DURING THE COLD ASHEVILLE WINTERS.

APPLY TUBES ON SIDE OF COLUM ROAD SIDE TO C RAYS. COLUMN

SOLAR THERMAL TUBES APPLIED IN A VERTICAL ARRAY ON THE FREESTANDING COLUMNS ON THE SOUTHWEST SIDE OF THE BUILDING SITE IMPROVEMENTS:

THE SWAMPY AREA IN THE PROVIDE PLANTING SCREEN (CUT DOWN ON TR EXISTING WET ZONE NOISE) NORTHERN CORNER OF THE - PRESERVE SITE SHOULD BE PRESERVED. ADDITIONAL LANDSCAPING SHOULD BE PROVIDED. DRAINAGE FROM THE REAR OF THE SITE SHOULD BE CARRIED TOWARDS THE RIVER VIA BIOSWALES. POROUS PAVING SHOULD BE USED WHEREVER POSSIBLE,SELECTED PARTICULARLY IN HORIZONTAL ELEMENTS TO BE CLAD IN PHOTOVOLTAIC PANELS THE PATIO. MECH 003

601 SF

Brewery Storage 001

4610 SF

Pati

Mash/Lauter 258

1234 SF

Fermentation/Filtration 259

Shroomery

2200 SF

002

1454 SF

Theater 004 1429 SF

LOADING

B

RIVERLINK PARKLAND

PHOTOVOLTAIC PANELS: THE STRIPS THAT EXTEND ACROSS THE BUILDING SHOULD INCORPORATE PHOTOVOLTAIC PANELS INTEGRATED INTO THE FORM.

RAIN MINIMAL INTERVENTIONS IN DOTTED ZONE

UP

UP

io

UP U DN

STAGE

BIOSWALE

UP

Entry from Parking

BIOSWALE

ADDITIONAL PARKING

PARKING

BIOSWALE

BIOSWALE

MATERIAL ANALYSIS

WARMTH: THE BREWERY SHOULD BE AN INVITING PLACE FOR VISITORS ORGANIC MATERIALS SUCH AS WOOD CREATE A MORE WELCOMING ENVIRONMENT

FUNCTION: MATERIALS SHOULD BE DRIVEN BY FUNCTION SEALED CONCRETE FLOORS AND PLAIN CONCRETE WALLS TRANSLATE THE EFFICIENCY OF INDUSTRIAL SPACES INTO MATERIAL FORM

VISION: THE BREWERY DESIGN VISUALLY CONNECTS MOST OF THE MAJOR SPACES MATERIALS MUST HARMONIZE WELL IN THESE SPACES THE VOCABULARY OF MATERIALS MUST BE LIMITED TO A FEW VERSATILE ELEMENTS

SUSTAINABILITY: MATERIALS SHOULD BE RECYCLABLE AND LOCALLY SOURCED THE BUILDING SHOULD OFFSET ITS POWER USAGE WITH PHOTOVOLTAIC PANELS AND LESSEN ITS STORM WATER IMPACT BY USING PERVIOUS PAVING AND GREEN ROOFS

MATERIAL CHARACTER

MAJOR EXPRESSION OF THE EXTERIOR IS TO BE THROUGH HORIZONTAL STRIPS OF WOOD SCREENS THESE SCREENS SHOULD KEEP A NATURAL, WEATHERED LOOK THAT WILL BE OFFSET BY ALUMINUM AND STEEL FITTINGS

ABOVE: ROYAL DANISH EMBASSY, BERLIN 3XN ARCHITECTS PHOTO: Finn Christoffersen

BELOW: RIVER AND ROWING MUSEUM, HENLEYON-THAMES, UK DAVID CHIPPERFIELD PHOTO: designbridge.wordpress. com

VOLGA HOUSE, ALEXINO, RUSSIA PETER KOSTELOV PHOTOS: Alexey Knyazev

WOOD SCREEN

ALUMINUM WILL BE THE DOMINANT METAL THROUGHOUT THE BUILDING, USING RECYCLED ALUMINUM WHENEVER POSSIBLE USE OF SILVERY METAL REFERENCES THE METAL EQUIPMENT THAT WILL BE USED IN THE BREWERY

RIGHT: ARCAM, AMSTERDAM RENE VAN ZUUK PHOTO: Luuk Kramer

MANY OF THE ALUMINUM COLUMNS SERVE A STRUCTURAL FUNCTION, BUT MANY OTHERS CAN SERVE AS ELECTRICAL CONDUIT OR ROOF LEADERS

ALUMINIUM CENTRE, HOUTEN, NETHERLANDS MICHA DE HAAS PHOTO: Abbink x de Haas

ALUMINUM

THE EXTERIOR BALCONIES, STAIRS, AND PLATFORMS WILL USE WOOD DECKING TO MATCH THE WOOD SCREEN PANELS WHEREVER POSSIBLE IN INTERIOR SPACES, THE SAME WOODEN FLOORING IS TO BE USED JOINTS AND HARDWARE WILL BE FINISHED IN A SIMILAR COLOR TO THE ALUMINUM ELEMENTS OF THE BUILDING

YOKOHAMA FERRY TERMINAL FOREIGN OFFICE ARCHITECTS

PHOTOS: Aida Malanovic

BERGEN FIRE STATION, BERGEN NORWAY STEIN HALVORSEN PHOTOS: Stein-Halvorsen Architects.

WOOD DECK

CONCRETE SURFACES ARE ESSENTIAL FOR INDUSTRIAL SPACES SEALED CONCRETE FLOORS WITH LIGHT TEXTURING SHOULD BE USED IN THE BREW HALL THESE FLOORS SHOULD BE DURABLE ENOUGH TO ALLOW FORKLIFT TRAFFIC

SAN PAOLO CHURCH, FOLIGNO, ITALY FUKSAS ARCHITECTS PHOTOS: Moreno Maggi

CAST-IN-PLACE CONCRETE SHOULD REFLECT THE FORM WORK AND BE CONSTRUCTED OF LIGHTCOLORED CONCRETE

CRECHE DE L’EUROPE, SIERRE, SWITZERLAND GIORLA-TRAUTMANN PHOTOS: Robert Hofer

CONCRETE

THE FACADE IS EXPRESSED PRIMARILY VIA THE WOOD SCREENS THEREFORE, GLAZING SHOULD HAVE A LOW PROFILE HAVING A STRUCTURAL GLASS SYSTEM MAXIMIZES VIEWS BOTH OUTWARD TO THE RIVER ARTS DISTRICT AND INWARD AT NIGHT TO MATCH THE PHOTOVOLTAIC CELLS, GLAZING SHOULD BE BRIGHT BLUE

THIS AND OPPOSITE PAGE: FRIEDRICHSTRASSE APTS, BERLIN PETERSEN ARCHITEKTEN PHOTOS: Jan Bitter

GLASS

PHOTOVOLTAIC PANELS ARE TO BE INTEGRATED INTO THE FACADE PANELS WILL BE INTEGRATED INTO THE FACADE EXPRESSION IN THE WALL SCREENS AS WELL AS HORIZONTALLY ALONG THE ROOF

SOLAR-FABRIK AG, FREIBERG, GERMANY PHOTO: Solar-Fabrik.de

PHOTO: Solareworld.com (top) and Solar-Fabrik.de (bottom)

PHOTOVOLTAIC PANELS

THE ROOF OF THE BREWERY SHOULD BE PRODUCTIVE WITH A RESTAURANT AS PART OF THE PROGRAM, THE ROOF CAN BE USED AS A GARDEN TO GROW PRODUCE FOR USE ON SITE THIS ALSO SERVES TO LOWER THE AMOUNT OF WATER SHED FROM THE ROOF

BROOKLYN GRANGE, NEW YORK PHOTOS: Bromley-Caldari Architects

HOPS GROW VERY TALL AND CAN BE TRAINED UP VERTICAL LINES THE COLUMNS THAT EXTEND INTO THE EXISTING BUILDING CAN BE USED TO GROW HOP VINES

PHOTO: Dusan Gavenda

FLORA

GREEN ROOF

WOOD FLOOR

CONCRETE FLOOR

COLUMNS

PHOTOVOLTAIC PANELS

WOOD PANELS

GLAZING

MATERIAL LOCATION

TERM

FALL THREE QUARTER

Brewmaster

Work

256

247

Break Recep

255

254

Server 257

A

Admin

Education Coordinator

Assistant Director

Marketing

249

253

250

251

3 - RESTAURANT LEVEL 3/64" = 1'-0"

Storage

Shop Storage

UP

DN

262

285 DN UP

58' - 4" DN

Theater (lower)

UP

263

Lobby

UP DN

104

101

TLT

TLT

287

286

DN DN

UP DN

Shop

32' - 0"

Balcony

102

REHENSIVE TECTURAL OJECT 2012

IS STEUDE B 3/64" = 1'-0" SECOND FLOOR 2 - LOBBY LEVEL

FIRST FLOOR Elec Elev Equip 274 273 UP

275

Plumbing

275

Brewery Storage UP Plumbing 282

Brewery Storage

Patio

UP

UP

Mash/Lauter UP

Elev Equip 258 281 Fermentation/Filtration

289

Patio

259

Bottling

002

UP UP

276

Mash/Lauter Boiler/Chiller Mech 258 270 271

001

Shroomery

276

Boiler/Chiller Mech 270 Fan Room Patio Storage 271

282 Elec Elev Equip 274 273 001

UP

Fan Room Patio Storage

UP UP

Elev Equip

UP

Fermentation/Filtration 281 Shroomery

Bottling

002

DN

1 - BREWERY FLOOR 3/64" = 1'-0"

A

1 - BREWERY FLOOR 3/64" = 1'-0"

WEST ELEVATION

PREHENSIVE HITECTURAL ROJECT 2012 PREHENSIVE HITECTURAL RIS STEUDE ROJECT 2012

B

WEST ELEVATION 3/64" = 1'-0"

B

WEST ELEVATION 3/64" = 1'-0"

RIS STEUDE

UP

289

DN

A

259

Entry from Parking

UP

UP

Entry from Parking

TERM Kitchen Stor

DN

DN

Kitchen

279

203 DN

Restaurant Dining

Sec Stor

DN

202

284

Proj

Theater (upper)

261

280

DN

Lobby DN 201

Toilet

Toilet

204

205

DN

DN

DN

Finance 252

Conference 246

Brewmaster

Work

256

247

Break Recep

255

254

Server 257

A

Admin

Education Coordinator

Assistant Director

Marketing

249

253

250

251

THIRD FLOOR

3 - RESTAURANT LEVEL 3/64" = 1'-0"

SECTION THROUGH SECTION THROUGH THEATER A BREWERY AND THEATER Storage Shop Storage 1/16" = 1'-0" 285

UP

DN

262

DN UP 58' - 4" DN

Theater (lower)

UP

263

Lobby

UP DN

104

101

TLT

TLT

287

286

DN DN

UP DN

Shop 102

E L 2

E B

2 - LOBBY LEVEL 3/64" = 1'-0"

B

SECTION THROUGH BREWERY 1/16" = 1'-0"

SECTION THROUGH BREWERY AND THEATER

A

SECTION THROUGH THEATER 1/16" = 1'-0"

32' - 0"

Balcony

SECTION THROUGH PATIO

AXON THROUGH LOBBY

OBLIQUE AXON THROUGH LOBBY

SECTION THROUGH BREWERY

AXON THROUGH THEATER WERY

OBLIQUE AXON THROUGH THEATER AND BREWERY

TERM

TERM

FALL FINAL

TERM

MODEL: 1’-0” = 3/32”

DN

1034 SF

312 SF

DN

UP

Shop Storage

COMM/ELEC

UP

OPEN TO BELOW

58' - 4"

DN

Theater (lower) 606 SF

UP

Lobby

UP

1656 SF

DN

DN

Balcony 835 SF

TLT

TLT

228 SF

209 SF

OPEN TO BELOW

UP

32' - 0"

DN

Shop 3211 SF

SECOND FLOOR FIRST FLOOR

UP

UP

Elev Equip

Elec

Fan Room

Patio Storage

168 SF

237 SF

251 SF

240 SF

Plumbing

Boiler/Chiller

143 SF

-

-

Brewery Storage

Mash/Lauter

4605 SF

1177 SF

UP

Mech

466 SF

126 SF

Patio -

-

UP

UP -

Ferment 1772 SF

Shroomery 1586 SF

Elev Equip 86 SF UP

Bottling 645 SF

UP

DN

WEST ELEVATION

Entry from Parking

TERM Kitchen Stor 534 SF

Kitchen 1400 SF

Restaurant Dining Sec Stor

4129 SF

217 SF

Proj 165 SF

Lobby

Theater (upper)

2040 SF

1419 SF

Toilet

Toilet

335 SF

352 SF

Recep 262 SF

Conference 411 SF

Server 100 SF

Admin 171 SF

Mktng

Finance

157 SF

148 SF

Education Coordinator

Director

Brewmaster 333 SF

Work 318 SF

156 SF

152 SF

Break 192 SF

THIRD FLOOR PATIO VIEW

EAST ELEVATION

SECTION THROUGH BREWERY AND THEATER

SECTION THROUGH LOBBY AND PATIO

LONGITUDINAL SECTION

TERM

SECTION THROUGH BREWERY AND THEATER

SECTION THROUGH LOBBY

VIEW FROM STREET

VIEW FROM SOUTH

TERM

OVERHEAD RENDERING

AFTER THE END OF THE FALL SEMESTER, I REASSESSED THE DESIGN. I WAS LOOKING TO RECONFIGURE THE “SOCIAL SIDE” OF THE BUILDING TO CREATE A PATIO SPACE THAT WAS AIRIER, BETTER LIT, AND BROUGHT VISITORS THROUGH THE FRONT OF THE BUILDING RATHER THAN THROUGH THE EXISTING SHELL. WHILE THE BLOCK OF THE BREWERY WOULD REMAIN UNCHANGED, I FOUND THAT THE SHOP, RESTAURANT AND ADMINISTRATION ZONES WOULD ALL HAVE TO BE MOVED. I TOOK A DEEP BREATH AND HOPED THIS REDESIGN WOULD STICK.

SPRING REDESIGN

Assist Dir

Finance

Educ

Mktng

UP

Work Room

DN

Brewmaster

Stair

Toilet J. C.

Comm Stor

Stair

OPEN TO BELOW

Break

Toilet Toilet Admin

Balcony

Demonstration

Waiting

Conference

OPEN TO BELOW

Server

Upper Shop

Atrium

OPEN TO BELOW

DN

UP DN

OPEN TO BELOW

OPEN TO BELOW

UP

SECOND FLOOR FIRST FLOOR

Hop Storage Generator Pad

Shop Storage

Stair Plumbing

Fan Room Mech

Loading Out

J. C.

Stair

Loading In

Cold Storage Elev Equip

Toilet

Toilet Toilet

Mash/Lauter

UP

Lobby

Brewery Storage

Lower Shop

UP

Shroomery

Bottling

WEST ELEVATION

Ferment/Filter UP

SPRING TERM Sec Sto

General Storage

DN

Toilet

Toilet

Kitchen Stair OPEN TO BELOW

Restaurant

Atrium

Demonstration Proj.

DN

Balcony DN

OPEN TO BELOW

OPEN TO BELOW

Restaurant Balcony

DN

THIRD FLOOR PATIO VIEW

EAST ELEVATION

NORTH SECTION

SECTIONS THROUGH LOBBY

SPRING TERM

SPRING TERM

VIEW FROM STREET

STRUCTURAL METHODS

STRUCTURE CASE STUDY: VILLA DALL’AVA OMA THE STRUCTURE IN THIS CASE SUPPORTS A RELATIVELY SMALL PORTION OF THE BUILDING. THE CLOSE SPACING OF THE COLUMNS SEEMS TO NEGATE THE NEED FOR BRACING.

STRUCTURE CASE STUDY: ALUMINIUM CENTRE ABBINK x DE HAAS THE STEEL TUBE STRUCTURE IS A SECONDARY SYSTEM. IT MAINLY IS USED TO SUPPORT THE EXTERIOR DECK AND CURTAIN WALLS OF THE ATRIUM. IN THE ALUMINIUM CENTRE, THE SLENDER TUBE COLUMNS ARE NOT BRACED, ALTHOUGH IN SEVERAL LOCATIONS THERE ARE SETS OF THREE COLUMNS THAT SUPPORT THE UPPER BOX AT A SINGLE POINT, BUT SPREAD OUT LIKE A TRIPOD. THE COLUMNS SEEM TO SHARE A COMMON CONCRETE FOOTING THAT IS OPEN AT THE CENTRAL COURT.

ALUMINIUM CENTRE, HOUTEN, NETHERLANDS MICHA DE HAAS PHOTO: Abbink x de Haas

STEEL TUBE STRUCTURE

FLOOR SLABS: THE FLOORS WILL USE A GIRDER-SLAB SYSTEM FOR THE UPPER FLOORS. THIS SYSTEM INTEGRATES THE STEEL D-BEAM INTO THE SLAB DEPTH TO GIVE THE BUILDING A LOW CEILING PROFILE. THE BEAM IS ENCASED IN CONCRETE FIREPROOF IT. THE FLOOR ITSELF IS MADE OF PRECAST HOLLOW-CORE PLANKS WITH A STAINED CONCRETE TOPPING SLAB THAT ACTS AS THE FINISHED FLOOR.

STRUCTURE CASE STUDY TEEN LIVING PROGRAM HPA THIS PROJECT CHOSE PRECAST CONCRETE STRUCTURE FOR ITS COST EFFECTIVENESS. THE ARCHITECT WORKED WITH TWO DIFFERENT MANUFACTURERS, ONE FOR THE CORE STRUCTURAL CONCRETE AND ONE FOR THE EXTERIOR PRECAST PANELS. THE EXTERIOR PANELS ARE COLORED TO MATCH THE EXISTING NEIGHBORHOOD BUILDINGS, AND THIS COLOR CARRIES INTO THE INTERIOR OF THE BUILDING. FOR THE BREWERY DESIGN, THE PRECAST WALL PANELS WILL BE A NATURAL COLOR THAT WILL PROVIDE A CONTRAST TO THE DARK TONES OF THE WOOD IN THE PROJECT.

PRECAST CONCRETE

ONE EXTERIOR WALL IS TO BE CAST IN PLACE. THIS WILL BE AN ACCENT WALL ALONG ONE SIDE OF THE SHOP. IT SHOULD BE THICK ENOUGH TO HOLD UP ITS OWN WEIGHT, BUT WILL NOT NEED TO SERVE ANY STRUCTURAL PURPOSE BEYOND THAT.

CAST-IN-PLACE CONCRETE SHEAR WALLS ARE USED ON THE INTERIOR OF THE BUILDING.

CAST-IN-PLACE CONCRETE

THE SPRING MIDTERM PRESENTATION FOCUSED PRIMARILY ON STRUCTURE. THROUGHOUT THE DRAWINGS, I HIGHLIGHTED THE PRIMARY STRUCTURAL ELEMENTS IN ORANGE. THIS VERSION OF THE DESIGN SAW THE STANDARDIZATION OF THE WALL TYPES, WITH SPECIAL ATTENTION PAID TO SHEAR WALL LOCATIONS.

PROJECT AT MIDTERM

Brewmaster

Assist Dir

Finance

Educ

Mktng

UP

Work Room

Stair

DN

Toilet J. C.

Comm Stor

OPEN TO BELOW

Break

Toilet Toilet Admin

Waiting

Conference

Server

Stair Demonstration

Balcony

OPEN TO BELOW

Upper Shop

Atrium

OPEN TO BELOW

DN

UP DN

OPEN TO BELOW

OPEN TO BELOW

UP

SECOND FLOOR FIRST FLOOR

Hop Storage

Generator Pad

Stair

Shop Storage

Plumbing

Loading Out Fan Room

Mech

J. C.

Stair

Loading In

Toilet

Cold Storage Elev Equip

Toilet Toilet

Grain Storage/Milling

Brewery Storage

Lobby

UP

UP

Mash/Lauter Shroomery

Bottling

Ferment/Filter

UP

WEST ELEVATION

Lower Shop

SPRING TERM Sec Sto

General Storage

DN

Toilet

Toilet

Kitchen Stair UP

OPEN TO BELOW

Demonstration

Restaurant

Atrium

Proj.

DN

Balcony DN

OPEN TO BELOW

OPEN TO BELOW

Restaurant Balcony

DN

THIRD FLOOR PATIO VIEW

EAST ELEVATION

NORTH SECTION

SHEAR WALL

SPRING TERM

SECTIONS THROUGH LOBBY

VIEW FROM STREET

SPRING TERM

ATRIUM CUTAWAY VIEW

SPRING TERM

FROM THE SPRING MIDTERM ON, I BEGAN TO DEVELOP THE DESIGN DETAILS FURTHER, STARTING WITH SKETCHES.

BUILDING SYSTEMS AND CODE ANALYSIS

FIRST FLOOR MECHANICAL: THE MAIN MECHANICAL ROOMS ARE LOCATED BEHIND THE BREWERY. THESE ROOMS HOLD A BOILER, AIR HANDLER, AND AN ABSORPTION CHILLER THAT HARVESTS RESIDUAL HEAT FROM THE MASH/LAUTER. FIN TUBE RADIATORS ARE LOCATED ALONG THE EXTERIOR CURTAIN WALLS TO CUT BACK ON CONDENSATION.

SECOND FLOOR MECHANICAL: MOST OF THE SPACES ON THIS FLOOR ARE PART OF FIRST FLOOR AREAS, AND HANDLED UNDER THE SAME SYSTEM. THE HVAC OF THE ADMIN SUITE IS RUN ABOVE THE CEILING, AND THE THEATER IS COOLED AND HEATED VIA FLOOR GRATES.

THIRD FLOOR MECHANICAL: THE INTAKE FOR THE BREWERY AND THEATER ARE LOCATED NEAR THE CEILINGS OF EACH OF THOSE SPACES. THE RESTAURANT AND KITCHEN ARE SERVED BY A ROOFTOP PACKAGE UNIT.

STACK VENTILATOR: THE ATRIUM SHAPE AND HEIGHT IS DICTATED BY THE STACK VENTILATION SYSTEM. HOT AIR AT THE TOP OF THE ATRIUM IS LET OUT THROUGH GLAZING PANELS THAT SLIDE OPEN. SIMILAR PANELS AT THE GROUND LEVEL OPEN TO LET IN COOL AIR TO NATURALLY VENTILATE THE ATRIUM AND SHOP SPACES.

MECHANICAL SYSTEMS

FIRST FLOOR CODE: THE RATED WALLS (HIGHLIGHTED HERE) SHOW THE OCCUPANCY SEPARATIONS OF THE BUILDING. THE BUILDING IS A NON-SEPARATED MIXED USE BUILDING. STAIR TOWERS WILL CARRY RATED WALLS AROUND THE VERTICAL SHAFTS AS WELL. OCCUPANCIES: BUSINESS: 4,750 SF INDUSTRIAL: 8,785 SF MERCANTILE: 3,275 SF ASSEMBLY: 4,150 SF KITCHEN: 2,084 SF TOTAL BUILDING AREA: 37,290 SF ALLOWABLE BUILDING AREA (INCLUDING ALLOWANCES FOR SPRINKLERS): 361,530 SF

A

B

C

1

2

3

4

C

D

E

F

BUILDING CODES

THE CHALLENGE OF THE FINAL PROJECT PRESENTATION WAS FINDING A WAY TO SHOW ALL THE INFORMATION I HAD AMASSED OVER THE SCHOOL YEAR AT ONCE. IN ADDITION TO THAT BREADTH, THIS STAGE OF THE PROJECT NEEDED A DEPTH OF UNDERSTANDING OF THE DESIGN. SPECIFIC DETAILS WERE DEVELOPED TO SHOW HOW THE BUILDING GOES TOGETHER. THIS WAS ALSO THE ONLY OPPORTUNITY TO SHOW THE INCORPORATION OF THE MECHANICAL SYSTEMS INTO THE PROJECT.

FINAL PROJECT

SPRING TERM

SITE MODEL

SPRING TERM

ATRIUM MODEL

Administration

Kitchen

Deck RESTAURANT

ATRIUM

Store

Patio

Load Out

BREWERY FLOOR

Mechanical

Load In

FOR THE FINAL REVIEW, I RE-EXAMINED THE “SUBWAY MAP” FROM EARLIER VERSIONS OF THE PROJECT, NOW APPLYING THE COLORS OF EACH ZONE TO THE LINES. ORANGE: PUBLIC ZONES YELLOW: STAFF ZONES GREY: BREWERY/PRODUCTION SPACES

RESTAURANT

THEATER

BREWERY FLOOR

LOBBY

PATIO

DECK

LIKEWISE, I RE-CONFIGURED THE DIAGRAM OF VIEWLINES TO REFLECT THE NEW DESIGN, AND REINFORCE THE LOBBY AS THE HUB OF ACTIVITY.

SPRING TERM

SITE OVERVIEW

Brewmaster

Assist Dir

Finance

Educ

Mktng

Stair

Work Room

Balcony

Toilet Comm Stor

J C

Mech

Break

Toilet Toilet Admin

Chase

Waiting

Conference

Server

Stair OPEN TO BELOW

Balcony

Demonstration

Atrium

Upper Shop

OPEN TO BELOW

OPEN TO BELOW

OPEN TO BELOW

SECOND FLOOR FIRST FLOOR

Brewmaster

Assist Dir

Finance

Educ

Mktng

Stair

Work Room

Balcony

Toilet J C

Comm Stor

Mech

Break

Toilet Toilet Admin

Chase

Waiting

Conference

Server

Stair OPEN TO BELOW

Demonstration

Balcony

Atrium

Upper Shop

OPEN TO BELOW

OPEN TO BELOW

WEST ELEVATION

OPEN TO BELOW

SPRING TERM Sec Sto General Storage

Toilet

Toilet

Kitchen

Chase

Stair OPEN TO BELOW

Demonstration Chase

Proj.

Balcony

OPEN TO BELOW

C

THIRD FLOOR PATIO VIEW

EAST ELEVATION

Atrium

Restaurant

OPEN TO BELOW

Restaurant Balcony

NORTH SECTION

Generator

SECTION THROUGH RESTAURANT

Restaurant Server

Break

LONGITUDINAL SECTION

Balcony

Restaurant Upper Shop Atrium

Hop Garden

Lower Shop

Demonstration

SPRING TERM ZINC SHINGLES ON VAPOR BARRIER AND TAPERED INSULATION 3

2

SUSPENDED METAL CEILING

ZINC FASCIA PANEL

SMOKE EXHAUST FAN

CAST-IN-PLACE CONCRETE SHEAR WALL

6'-0" x 8" CONCRETE PLANKS ON STEEL D-BEAMS

ELEVATOR SHAFT

SECTION THROUGH LOBBY

SPRING TERM

ATRIUM CUTAWAY VIEW

PERSPECTIVE VIEW OF STRUCTURE

MAXIMUM BUILDING HEIGHT 53' - 8"

ZINC SHINGLE ROOFING

VAPOR BARRIER RIGID INSULATION METAL ROOF DECK

ZINC FASCIA ON 1 1/2" METAL STUDS

SUSPENDED METAL CEILING

STRUCTURAL GLAZING SYSTEM WITH SPIDER CLAMP CONNECTIONS

ROOF LEVEL 37' - 4"

WOOD PARAPET SCREEN BEYOND

2" REVEAL

CONCRETE SHEAR WALL BEYOND

3RD FLOOR 24' - 0"

CURTAIN WALL SUPPORT 8" DIA. STEEL TUBE

ALUMINUM PANELS ON METAL STUDS

5/8" GYP BD ON 1 1/2" METAL STUDS

STEEL TUBE COLUMN BEYOND

2ND FLOOR 12' - 0"

OPERABLE GLAZING PANELS ON TRACKS INTAKE FOR STACK VENTILATION IN LOBBY BASIS OF DESIGN: NANAWALL

FIN TUBE RADIATOR FLUSH WITH FLOOR

LOBBY SLAB - 2" STAINED CONCRETE ON 8" FOUNDATION SLAB

SLAB EDGE EXPANSION JOINT STONE PATIO 1ST FLOOR 1' - 0"

SPRING TERM

PARAPET BEYOND

REFLECTIVE ROOF MATERIAL WOOD SCREEN ALUMINUM SCREEN BRACKET

ROOF LEVEL 37' - 4"

PRECAST PLANK ROOF STRUCTURE CLERESTORY TOWARD GREEN ROOF STEEL COLUMN

3RD FLOOR 24' - 0"

STEEL D-BEAM STRUCTURAL GLAZING CURTAIN WALL WITH SPIDER CLIP CONNECTIONS FERMENTATION TANK

2ND FLOOR 12' - 0"

CAST-IN-PLACE CONCRETE WALL HOLLOW METAL DOOR AND FRAME EDGE-OF-SLAB INSULATION 4" CONCRETE SLAB SLOPE 1:12 TO GRADE

BREWERY FLOOR

1ST FLOOR 1' - 0"

PHOTO CITATIONS BIBLIOGRAPHY

PHOTO CITATIONS

1. Wilma Dykeman Riverway map : http://www.riverlink.org/ documents/karenfinalshow.pdf 2. Robert L Morse Courthouse photos : www.morphopedia. com 3. Riverquarium : www.predock.com/flint/flint.html and http://www.flickr.com/photos/wizum/215239057/in/set72157594236036521 4. Dogfish Head Brewery : www.digsau.com and www.flickr. com/beeriety 5. Mill City Museum : www.millcitymuseum.org and Architectural Record, February 2004 6. Royal Danish Embassy : http://www.architecture-page.com/ go/projects/royal-danish-embassy-berlin__all 7. Volga House : http://www.kostelov.ru/what/e_house_133. html 8. ARCAM : http://www.architecturenewsplus.com/ projects/1305 9. Aluminium Centre : http://www.abbinkdehaas.nl/images/ pdf/10_012+Aluminiumbos.pdf 10. Yokohama Ferry Terminal : Picasa Web - http:// picasaweb.google.com/lh/photo/7tXpzOTt32z9hv3ubP76cg and http://openbuildings.com/buildings/yokohama-ferry-terminalprofile-2465 11. Bergen Fire Station : http://www.sh-arkitekter.no/ Offentlig/bergen-brannstasjon.html 12. San Paolo, Foligno : http://subtilitas.tumblr.com/ post/12651681226/massimiliano-fuksas-san-paolo-churchcomplex and http://www.archilovers.com/p18479/complessoparrocchiale-san-paolo 13. Creche de l’Europe : http://www.swiss-architects.com/de/ giorla-trautmann/fr/currentProfilePos:0/searchProfileId:cc1fb1e0 04acce28507181ae6ac186384ec42aa71ec4a/ 14. Freidrichstrasse : http://petersenarchitekten.de/#/ projekte/gesamt/34

15. Solar-Fabrik : www.solarserver.com 16. Brooklyn Grange : http://inhabitat.com/nyc/brooklyngrange-worlds-largest-rooftop-farm-kicks-off-second-growingseason/ 17. Villa Dall’ava : http://oma.eu/projects/1991/villa-dall-ava 18. Stained Concrete Floors : http://www.concrete-floors. org/photos-restaurants.html 19. Teen Living Center : http://pcidesignawards.org/pages/ PI_04/PI_04.html 20. Oberrohrbach Church : http://29.media.tumblr.com/ tumblr_lpmjhpt5oc1qat99uo1_500.jpg 21. Shear Wall : http://4.bp.blogspot.com/-iFMPUdWaWaI/ TZJo7dq2t8I/AAAAAAAAABs/Aw3ba7pgffA/s1600/IMG_1837.

JPG

RESEARCH BIBLIOGRAPHY Architectural Amelar, Sarah “Flint Riverquarium, Georgia” Record May 2005 218-223

Blum, Peter H Brewed in Detroit Detroit, Wayne State University Press, 1999 Jackson, Michael Ultimate Beer New York, DK Pub, 1998 LeFevre, Camille “Mill City Museum” Architectural Record February 2004 122-126 O’Brien, Chris “Grains of Possibility: Ways to Use Spent Brewing Grains” American Brewer Spring 2005 Pearson, Clifford A “US Courthouse, Oregon” Architectural Record March 2007 94-101 Sick, Friedrich and Thomas Erge Photovoltaics in Buildings International Energy Agency 1996 Sint-Sebastian Brewery http://www.sterkensbrew.be/sbm/beer_ making.html