WEISSMAN TEACHING PORTFOLIO

PORTFOLIO OF TEACHING DAN WEISSMAN Master of design studies

harvard graduate school of design

master of architecture university of michigan

Certificate in design education

boston architectural college

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Dan Weissman | Teaching Portfolio

“The true aim of all education -

too often forgotten - is to stimulate enthusiasm toward greater effort.

I am convinced that "safety first" is a foul slogan for a young man. The idea of personal security, being in itself an illusion, breeds irresponsibility and egoism. It is a mere materialistic conception. No durable result in any trend of education can be expected without a dominating ideal, the human or social component of which has to direct the professional one not vice versa. Although such an aim may appear self-evident, it has become extremely rare in today's educational practice. Surely a student must be fitted for practical life, but the opposite danger of educating dreamers, secluded from the world, is hardly imminent today. The overemphasis on fact knowledge, on intellectual reasoning has obviously carried our generation astray. It has lost touch with the totality of life and with its social implications. Intuitive quality eternal source of all creative action is being underrated. We see our youth mistrusting their own instincts and denying everything which cannot be conclusively reasoned. I`n my opinion they should, instead, be encouraged to be heedful of their emotions, learning to control rather than to subdue them. They need spiritual guidance beyond professional practicalities to develop their own creative substance, not only their intellect. The greater the spiritual aims, the better youth will conquer material difficulties. When intuition has found food, skill develops most rapidly while routine alone can never supersede creative vision.

Highest reality can be given shape only by a being who has comprehended sublimest unreality.”

Walter Gropius Blueprint of an Architect’s Education Scope of Total Architecture, p41 1943 p3

DAN WEISSMAN,

from Milwaukee Wisconsin, is a Design Consultant offering services in graphic design, industrial design, architecture, urbanism and research.

A graduate of Harvard Graduate School of Design’s Master of Design Studies program (2012), his MDesS thesis, “Total [Re]Design,” involved the development and use of digital climatic analysis tools in the service of social engagement. It is through this lens that he has worked on a range of projects in Haiti with colleagues at GSD and MIT, notably the publication ‘Designing Process.’ Dan currently consults for a range of clients, including SolarX Energy, the Harvard Graduate School of Education iWonderUs learning platform, and Oxfam in Haiti. Additionally, Dan is an adjunct professor at the Boston Architectural College, co-founder of The Productive Collective, and plays mandolin in the band Cowgill.

Dan was awarded the AIA Henry Adams Medal at University of Michigan, where he received his Master of Architecture (2010). His M.Arch thesis “Landfill Urbanism” has been widely published and exhibited as a mediation of architecture with large scale infrastructural systems. Before entering graduate studies, Dan worked as an architectural lighting designer at Lam Partners in Cambridge MA, and was recently co-awarded the International Association of Lighting Designers GE Edison Award of Excellence for the United States Institute of Peace (Moshe Safdie Architects). He holds a Bachelor of Arts in Architecture from Washington University in St. Louis (2005).

Dan Weissman | Teaching Portfolio

Content part 1: positioning

p6/ teaching philosophy p8/ curriculum vitae part 2: Courses developed and taught

p14/ Total [re]Design Studio

Boston Architectural College, Spring 2012 Course developer and adjunct lecturer co-taught with Aviva Rubin. This C2 Architecture Studio explores the paradox between architectural product and community participation through a novel alternative adult education center in Boston, MA.

p40/ Bluegrass Urbanism Studio Boston Architectural College, Summer 2011

Course developer and adjunct lecturer. This C Architecture Studio addressed contemporary urbanization, relationships between rural and urban culture and value systems presented through folk music. Students were asked to create mappings of Union Square in Somerville, MA, then generate a design for a school of folk music within in the square.

p64/ Light | Space Workshop

Boston Architectural College, Spring 2008

Course developer and adjunct Lecturer. This Advanced Architecture Seminar explored the qualitative and quantitative potentials of architectural daylighting design through case study analysis and studio project design. Funded through the Nuckolls Grant for Lighting Education.

Featured in the article Anatomy of a Lighting Course by Rachel Levitt;

Architectural Lighting, Dec 2008

P86/ courses taught + assisted part 3: publications

90/ Designing process

Werthmann, Christian, et al; CONCEPTION du processus | Designing Process: Exemplar Community Development Project, Volume 3; independently published on Lulu and Issuu, 2012.

Additional materials pertaining to project work available upon request.

p94/ Daylit Area Reinhart, Christoph F. and Weissman, Daniel A; The daylit area: Correlating Architectural Student Assessments With Current And Emerging Daylight Availability Metrics, Building and Environment, v50, p155-164, 2011

p100/ Design With Climate Weissman, Dan and Omidfar, Azadeh; DESIGN WITH CLIMATE: The role of digital tools in computational analysis of site-specific architecture; in Hanif Kara and Andreas Georgoulias, Interdisciplinary Design, New York: Actar, 2012

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TEACHING PHILOSOPHY

I seek to teach at the intersection of design thinking and technical principles, promote group learning, self reflection and peer assessment, and foster risk-based learning-though-making.

I believe strongly in the role of education as the primary tool through which societies further themselves. Our contemporary condition of education in America has displayed disturbing failures to address changes in the workplace. I believe DESIGN may play a significant role in the reformulation of our education system, and seek to use the architectural studio as a mode through which to investigate and propose alternative modes through which this may occur.

Explicit in my process of teaching is the identification of understanding goals and skills building. Skills may be technical in nature, as seen in Light|Space in the development of skills to analyze and design for daylight, or the application of 3d modeling, rendering and vector line work representation in all my courses. Or, skills may be social. In Total [Re]Design, students have been asked to work collaboratively at explicit moments in the studio process, forcing students to interact with people they may not agree with, and therefore must develop skills in negotiation and collaboration.

Since returning to the BAC in 2011, I have committed to teaching studios that address forms for education. Bluegrass Urbanism addresses the mashup of rural and urban culture through the design of a school of folk music, while Total [Re]Design investigates the role of craft and design through the creation of a construction training center. I plan to continue teaching studios that address forms of education in coming semesters, with the goal of publishing work on the subject in the near future.

To the right is my teaching philosophy, originally developed while teaching Light|Space and working towards my Certificate in Design Education in 2008.

Dan Weissman | Teaching Portfolio

GOALS PROMOTE INTERACTION THROUGH...

> METHODS + OUTCOMES

teachingPHILOSOPHY

...GROUP LEARNING AND COLLABORATION

> Group projects [when feasible] or investigations performed in group setting + Students learn to have dialogue with those they may not agree with > Students switch projects after to analyze or build upon each other's work. + Students experience the client/consultant relationship + Each student experiences each other's work and learns from it. > Student initiated research and presentation replaces lecture + Promotes student initiated questioning + Student gains personal stake in information gleaned

...ARRANGEMENT OF SPACE

> Classroom set up in a roundtable collegial manner + Promotes discussion + Students’ ideas are on equal level with instructor > Arrange review space around the work, not the critics + Places focus on learning instead of critic’s knowledge

...PEER-TO-PEER ASSESSMENT

IN-CLASS PIN-UP > Students to Critique each other with written notes and verbal feedback + Gives students the chance to practice giving and receiving constructive feedback.

DESK CRITS > 2-3 students with instructor + Allows for informal performances of understanding

FACILITATE SELF-REFLECTION

CREATE TRANSPARENCY IN FORMAL ASSESSMENT

TEACH AT THE INTERSECTION OF DESIGN THINKING AND TECHNICAL PRINCIPLES

> Written reactions + Allow students the chance to understand their work and process through the act of doing. > In class discussions + Allows for a dialogue between different student's perceptions of the course, and coursework > Grading Rubrics + Creates transparency of performance goals: Students understand expectations up front + Students complete and turn in with finished work + Provide filled out grading rubric at end of each project/term for each student in timely manner > Provide written feedback in addition to rubric and grade CONTENT > Technical Proficiency + Comfort level with tool(s) & integration of systems > Quality of Design Solution + Formal strategy and execution [concept] > Graphic Representation + View into student's sensibilities towards built work + Effort and rigor in the iterative process PROCESS > Exposure: Exploratory exercises + Students use new tools and skills to inform design decisions >Trial: Case Study Analysis + Students use the process of design to learn and master technical and formal strategies that underline those tools and skills. >Application: Design Problem + Learned skill(s) becomes one of many factors in design process. p7

curriculum vitae professional practice 2007-present DaWeissman Design Studio [Cambridge, MA] www.thellocallab.com/dan Design Consultant. (INC in application) Clients include: + Solar-X Energy, New York, NY: Branding, website, product design, architecture. + Graduate School of Education Hilt Grant Development of the ‘iWONDERus’ learning collaboration web platform + World Bank: Haiti Emergency Shelter research and development [beginning fall 2012] 2012-PRESENT The Productive Collective [Boston, MA] www.productivecollective.blogspot.com Founding Member. Design Collaborative seeking to re-imagine the practice, engagement, and production of architecture and design in the 21st century. Flagship project is an urban farming and aquaponics pilot initiative in Boston, in partnership with the Boston Architectural College. Formerly ‘The Local Lab’ (2009-2012) 2006-present Boston Architectural College [Boston, MA] INSTRUCTOR of Architecture and Building Technology 2005-2008/ Lam Partners [Cambridge, MA] www.lampartners.com summer 2010 Electric and daylighting design consultant for architecture and outdoor environments.

Projects as designer and/or project manager include: + United States Institute of Peace, Washington DC: Moshe Safdie Architects* + Kaufman Center for the Performing Arts, Kansas City, MO: Moshe Safdie Architects* + Tufts School of Dental Medicine Boston MA: ARC Architects + LL Bean Prototype + 8 retail stores, Mansfield MA et al: Bergmeyer Associates + Gensler Boston Office, Boston MA: Gensler Architects + Nexus Center for Green Roundtable, Boston MA: ADD Inc + National Archives for the Archeology of Israel, Jerusalem, IS: Moshe Safdie Architects

*Award Winning Project. [full project list available upon request] 2004 Urban Solutions LLC [Evanston, IL] Schematic designer of Low-income Residence in Evanston, IL Education

2010-2012 Master of Design Studies Harvard University Graduate School of Design Thesis: Total [Re]design: The Architectural Climate of Social Engagement Advisor: Rahul Mehrotra 2008-2010 Master of Architecture with High Distinction | Henry Adams Metal University of Michigan Taubman College of Architecture + Urban Planning Thesis: Landfill Urbanism: Opportunistic Ecologies, Wasted Landscapes Advisor: Geoffry Thün 2006-2008 Certificate in Design Education Boston Architectural College 2001-2005 Bachelor of Arts in Architecture | Magna Cum Laude [gpa 3.68] Washington University in St. Louis School of Architecture 1997-2001 Shorewood High School, Shorewood, WI

study/work abroad 2011-2012 summer 2009 fall 2004 Summer 2003 1999-2000

Port Au Prince, Haiti: 6 trips totaling 5 weeks of on-the-ground work BASE Studio [Beijing Architecture Studio Experience] Beijing, China DIS [Denmark’s International Study Program], Copenhagen DK Architecture Study Tour: 9 Cities in Europe, Professor Zeuler Lima AMHSI (Alexander Muss High School in Israel), Hod Hasharon, Israel (2 months)

Dan Weissman | Teaching Portfolio

funded research 2011-present

Haiti: designing process + additional projects Harvard University Graduate School of Design [Social Agency Research Lab] Project Manager with Professor Christian Werthmann, with MIT SA+P. Various design and planning projects across the Port au Prince region.

2011-present

Daylight area Study Harvard Graduate School of Design + Massachusetts Institute of Technology Research Assistant with Professor Christoph Reinhart. Study analyzed participant perceptions of daylight in architectural space measured against computational models, using Harvard’s Carpenter Center as test space. Paper published in ‘Energy and Environment.’ Follow-up study in process.

spring 2010

Integrated Assessment University of Michigan: Graham Environmental Sustainability Institute Research Assistant with Geoffrey Thün. Team assessed UM campus building practices providing a 100-page report to the University with recommendations for sustainable building practices ranging from normative to radical projective futures.

Teaching experience Fall 2012

course development + instruction ARTS CENTER CINCINnATI [Boston Architectural College] C2 Advanced Architecture Studio developed with Kyle Sturgeon. This studio will ask students to submit for a competition organized by the local AIA chapter in Cincinnati, OH.

spring 2012

TOTAL [RE]DESIGN [Boston Architectural College] C2 Advanced Architecture Studio developed and co-taught with Aviva Rubin. This studio explored the paradox between architectural product and community participation through an alternative adult education center in Boston, MA.

summer 2011

Bluegrass Urbanism [Boston Architectural College] This C Architecture Studio addressed contemporary urbanization, relationships between rural and urban culture and value systems presented through folk music. Students were asked to create mappings of Union Square in Somerville, MA, then generate a design for a school of folk music within in the square.

J 2011 spring 2008

fall 2012 spring 2007 fall 2006 2007-2008 spring 2012

spring 2011

Artificial Light [Harvard University Graduate School of Design] January-Term Instructor. Lighting basics for GSD Advanced studies students.

Light|Space [Boston Architectural College] Co-taught with Matt Latchford. This Advanced Architecture Seminar explored the qualitative and quantitative potentials of architectural daylighting design through case study analysis and studio project design. + Funded through the Nuckolls Grant for Lighting Education. instructor TM369: Environmental Systems 2: Lighting & Acoustics [BAC] TM365 Lighting Design Co-taught with Keith Yaney [BAC] B1 Architecture Studio Co-taught with kyle sturgeon [BAC] Thesis Advisor Lighting for Interior Design Students [BAC] teaching assistant DISASTER FIELD LAB [Harvard University Graduate School of Design] With Christian Werthmann, Associate Professor of Landscape Architecture. Seminar studied postearthquake Haiti as a case for producing design intervention across a range of scales and time frames.

Daylighting Architecture [Harvard University Graduate School of Design] With Christoph Reinhart Associate Professor of Building Technology. I assisted in research studies, lead electric lighting and physical daylight modeling modules. p9

teaching assistant [continued] Fall 2010 Poseidon’s Temples [Option Studio, Harvard University Graduate School of Design] With Visitng Professor’s Grace La & James Dallman. I worked with students to develop individual projects, and assisted in course administration. fall 2009 Generative Computing [University of Michigan Taubman College] With Glenn Wilcox, Associate Professor of Architecture. I updated course website with student work, instructed basic Grasshopper module, assisted students with projects. spring 2004 ­­212 Architecture Studio [Washington University in St. Louis] With students under professors’ Patty Hayda, Gay Lorborbaum and Bill Wischmeyer.

grants + awards

2012 New England Grassroots Environmental Fund Seed and Start Grant $1000 grant to fund pilot urban farming and aquaponics project [The Productive Collective] 2012 Green carpet Individual Achievement award Harvard Office for Sustainability 2012 GE Edison Award of Excellence United States Institute of Peace International Association of lighting Designers [With Glenn Heinmiller + Paul Zaferiou] 2012 Edwin Guth Memorial Award for Interior Lighting United States Institute of Peace + Kauffman Center for the Performing Arts [With Glenn Heinmiller + Paul Zaferiou] 2010 Dean’s Merit Scholar Harvard University Graduate School of Design 2010 AIA Henry Adams Medal University of Michigan Taubman College 2009 WHEELER Scholarship University of Michigan Taubman College 2008 Louis & Ruth Redstone Scholarship University of Michigan Taubman College 2007 $20,000 Grant: Nuckolls Fund for Lighting Education Recipient on behalf of the Boston Architectural College

publications

2012 Research and photography featured in: Grendall, John “Re-mapping practice” MISC Magazine, Summer 2012 2012 Weissman, Dan “[Re]Building Port au Prince” Global Post http://www.globalpost.com/ dispatches/globalpost-blogs/groundtruth/rebuilding-port-au-prince, 13 April, 2012.

2012 Werthmann, Christian, et al; DESIn du processus | Designing Process: Exemplar Community Development Project, Volume 3, http://issuu.com/gsdmit/docs/designingprocess, 2012 2012 Weissman, Dan and Omidfar, Azadeh; DESIGN WITH CLIMATE: The role of digital tools in computational analysis of site-specific architecture; in Hanif Kara and Andreas Georgoulias, Interdisciplinary Design, New York: Actar, 2012 2012 Weissman, Dan ‘History of Waste in Massachusetts’, Encyclopedia of Waste and Consumption; Carl A. Zimring, ed. Sage Publications, 2012

2011 Reinhart, Christoph F. and Weissman, Daniel A; The daylit area: Correlating Architectural Student Assessments With Current And Emerging Daylight Availability Metrics, Building and Environment, v50, p155-164, 2011 Dan Weissman | Teaching Portfolio

publications [continued] 2011 Weissman, Dan; “Designing Process:Creating long-term replicable community building solutions in Port-au-Prince, Haiti” Graduate School of Design Website [online] http://www.gsd.harvard.edu/#/projects/designing-process-creating-long-term-replicablecommunity.html, 2011.

2011 2011 2011 2010 2010

Landfill Urbanism Masters Thesis investigating the contentious and stinky proposition of landfill mining Thün, Geoffrey et al; “Infra-/ Eco-/ Logi-/ -Urbanism” MONU Magazine, Dimensions 24: UM Taubman College Soiled Groundscrapers: Cartogram, 2011 http://cartogram.org/soiled.html Self Published by Lulu www.thelocallab.com/landfillurbanism

2010 Specification Grade Sustainability Lam Partners Blog blog.lampartners.com 2009 DaWessBrau studio proposal for brewery+hotel mashup near Cabela’s Portico: UM Taubman College Alumni Magazine 2008 BAC Course Light|Space Featured in: Levitt, Rachel, Anatomy of a Lighting Course, Architectural Lighting, Dec 2008

Exhibitions

2012 Palliahive Harvard Graduate School of Design Graduation Exhibition 2012 TEACHING PORTFOLIO ‘Sustain This!’ Boston Architectural College NAAB presentation: March 2012 2011 Dollhouse Video Architecture Installation www.videoarchitecture.blogspot.com Exhibited at Harvard University Graduate School of Design Landfill Urbanism 2011 The Lean Years: P+ARG Conference | UM Taubman College Gallery 2010 Thesis Show: UM Taubman College Gallery Woodblock Works: Selected woodblock prints 2011 Harvard Student Art Show 2010-PRESENT BE in Union Yoga Studio Gallery 2010 DaWessBrau: Student Show | University of Michigan Taubman College CMYK Gallery

LECTURES + conferences 2012 ON MEMORIALS With Marilyn Moedinger [The Productive Collective] Cambridge Ringe And Latin History Course

2012 The Walls Race With Aviva Rubin. Writing Cities Conference Harvard University Graduate School of Design total [re]design 2012 Thesis Presentation, Harvard Graduate School of Design Seminar with Richard Sennett, Harvard Graduate School of Design 2012 Designing Process With Anya Brickman Raredon. Je Nan Je Conference; Port au Prince 2011 Designing Resilient Cities; Joyce Rosenthal, GSD 2011

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LECTURES + conferences [continueD] 2011 Haiti Urban Energy Architecture for Humanity, Port au Prince, haiti 2011 Artificial Light 4.430 Daylighting, MIT: Jaime Lee Gagne 2008 Sustainable Retail Lighting Boston Society of Architects Perception + Delight in Architectural Lighting 2007 Suffolk University RISD 2007 2007 Lighting Design 101 Solar Decathlon House Seminar, BAC/MIT

GUEST CRITIC 2007-PRESENT 2011, 2012 2011 2010

SERVICE

BAC: various architecture studios GSD Summer Discovery Program, various studios Comprehensive Studio: Kiel Moe, Northeastern University Wallenberg Studio: Thom Moran, Taubman College

Harvard University 2011-2012 Harvard University Council of Student Sustainability Leaders 2011-2012 Co-President: GSD GREEN DESIGN www.gsdgreendesign.blogspot.com Design And Fabrication Of Palliahive: Beehive Shelter Founder Of Planted[Gsd] 2011 Administrative Coordinator: Social Agency Lab 2011 Web Development: ‘Research Advancement Initiative’ www.gsd.harvard.edu 2010-2011 MDesS Representative: GSD Student Affairs Committee University of Michigan 2008-2010 Social Chair: Architecture Representative Committee 2009 Member, Environmental Technology Faculty Search Committee Common Boston www.commonboston.org 2006-2008 Steering Committee Member / Tour Guide Washington University in St. Louis School of Architecture 2003-2004 AIAS Vice-President + Treasurer

other

2011-present COWGILL Indy-rock band in the Boston area. www.cowgillmusic.com Mandolin, trumpet and backup vocals, and graphic design director

Dan Weissman | Teaching Portfolio

references

Rahul Mehrotra Director of Urban Planning and Design Harvard Graduate School of Design 617 495 1000 mehrotra@gsd.harvard.edu Christian Werthmann Associate Professor of Landscape Architecture Harvard Graduate School of Design 617 384 7269 cwerthmann@gsd.harvard.edu Christoph Reinhart Associate Professor of Architectural Technology Massachusetts Institute of Technology tito_@mit.edu Geoffrey Th端n Associate Professor of Architecture University of Michigan 734 764 1300 gthun@umich.edu Karen Nelsen Director Boston Architectural College 617 262 5000 karen.nelson@the-bac.edu Glenn Heinmiller Principal Lam Partners 617 354 4502 glenn@lampartners.com

skills

Physical Space Design Architecture Urban Lighting Lighting Calculation & documentation Photometric/fixture analysis and design Daylighting analysis Project Management Education / Teaching MIG + TIG Welding Wood block printing Mandolin + Brass Instruments

Digital Space Mac + PC Adobe Creative Suite Rhinoceros 3D Grasshopper DIVA-for-Rhino [lighting + energy] AutoCAD 3D Studio Max Lightscape AGI32 Ecotect ArcMAP 10 GIS DesignBuilder p13

Total [re]design website Used as a ‘digital studio space’ as our students do not have consistent physical studio space.

Dan Weissman | Teaching Portfolio

Total [Re]Design Studio

TOTAL [RE]DESIGN A CONSTRUCTION TRAINING SCHOOL IN BOSTON. C2 Level SPRING 2012 Co-developed and taught with Aviva Rubin Understanding Goals

+ Collaboration as a critical life skill + Social engagement through architecture is a VALUE, not inherent in our profession. + Relationship between craft, design and community engagement. + What is a 21st century school? + Technical skills building in representation [Adobe CS, Rhinoceros, etc]

This C2 studio was a collaborative teaching experience with Aviva Rubin, and collaboration with our students. We believe that engaging our students within the process of decision making allows students to engage in the material, and therefore learn critical decision making skills. To that end, the framework for the studio hinged on individual investigations (mappings, diagramming, formal investigations) contributing to a collective vision for architectural output.

The product of this collaboration (a proto-building) serves as a frame for investigations into the myriad systems and processes surrounding the building; structure and formal systems, energy systems, pedagogy of the institution and methods of construction.

Our goal, to engage an institution vocational organization as a hypothetical client, did not work out as planned. Aviva and I created an institution, the ‘Dudley Guild,’ to serve as client. Through the mid-review process, we seek for students to push back against this client and form opinions on necessities for program, community engagements and form.

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total [re]design

Syllabus A construction trAining school in the boston region C Level Studio Spring 2012 | BAC. Dan Weissman + Aviva Rubin

My idea of the architect as a coordinator — whose business it is to unify the various formal, technical, social and economic problems that arise in connection with building — inevitably led me on step by step from the study of the function of the house to that of the street; from the street to the town; and finally to the still vaster implications of regional and national planning. i believe that the new Architecture is destined to dominate a far more comprehensive sphere than building means today; and that from the investigation of its details we shall advance towards an ever-wider and profounder conception of design as one great cognate whole.

-Walter gropius | the new Architecture and the bauhaus, 1935 Over the years, architecture as a discipline has generally relied on a few basic premises. One is that the architect is the master facilitator, commanding all elements of architectural production. We assume that to release the architect’s hegemonic grip over the aesthetic product will translate to a loss of control over the process itself. And therefore, architecture has sought to fortify the discipline from those its serving, strengthening the division between architecture and society.

Yet within the field of architecture, there is a new faction emerging - architectures of social engagement. Accelerated by recent shows at MoMA and Cooper Hewitt, and with ever-more-popular organizations and programs such as Architecture for Humanity and Auburn University’s Rural Studio, this burgeoning theme (at least from our vantage point in the United States) puts forth an alternative form of architectural output that thrives on embedded engagement with under-served communities. Is this praxis of architectural production different than other practices? At least one aspect is distinct: with socially-engaged architecture, educational outreach becomes an integral component to the architectural product. The architect’s dominance over aesthetic judgement can remain in tact while also allowing for dissemination of information, and ultimately, knowledge.

Many systems and infrastructures shape the flows of society - from the economic, social, political, cultural, and environmental. The stoplight timing mechanisms, cellphone frequencies, timber-sizing, and fire-code regulations all are designed systems. Reconceiving of the systems at work in any design can achieve a ‘total REdesign.’ New architectures of social engagement ultimately require a redesign of the systems around their practices in order to ‘get it right.’ Good designers design the building blocks of their structures, the great ones design the processes to make those blocks, and the pedagogy of their new work forces.

Looking to improve the educational opportunities in the Boston Region, Youthbuild, an international training organization for young people, has hired you to conceive of a new type of training center. How does education operationalize the program of a vocational school for a communitiy-in-need? David Harvey’s “Spaces of Insurgency” asserts the right for laborers to “have a strong voice in the choice of what to produce and how to produce it.”1 But then what is the role of the architect? Can we still have aesthetic authority and autonomy as the architectural author?

1. David Harvey, “Spaces of Insurgency,” in Subculture and Homogenization, ed. by J. Beverly, P. Cohen, and D. Harvey (Barcelona: Fundacio Antoni Tapies, 1988): p.83.

Dan Weissman | Teaching Portfolio

Total [Re]Design Studio

TOTAL [re]DESIGN

2

stUdio oBJeCtiVes Within the context of this studio, you will be responsible for designing the processes and flows of material, energy and information, not merely the physical structure of a building object or landscape. Armed with contemporary case studies of socially-engaged architectures, this studio seeks to investigate the seeming paradox between total design and community involvement, where education serves as a guide.

rePresentation

Representation is not a passive actor but a primary means of communication. It is one of the primary means for architects to articulate design intentions, and in the absence of a built product, representations of the process and potential products is the primary output of design studio. We will work to develop graphic representations that make information accessible, legible, and clear to various constituents. We will produce beautiful drawings. You will, in parallel to the content researched and produced, develop a representational style. As you will be expected to work across the breadth of design tools and media, skill-building sessions may be added depending on need.

stUdio CUltUre

We strive to create a studio atmosphere for collective learning and risk-taking. Your participation in discussions and group critiques is critical to the success of the studio, and your own development as a student. Uncritical, hurtful comments will not be tolerated. Moreover, it is in your best interest to work IN STUDIO as often as possible, where you may learn from each other. At times you will be working in groups; this process will no doubt be frustrating, but this situation mirrors reality of design professions. We must learn to be master collaborators, to engage ideas that are not our own and work towards productive results.

PinUP + reVieWs

Pinups and reviews are for collective learning as well as demonstrations of understanding. YOU MUST BE PINNED UP BEFORE THE CRITIqUE BEGINS, or risk not presenting. Outside critics will be present for at least two reviews over the semester, but may be brought in under more casual circumstances by instructor discretion.

This studio is not for the feint of heart. You will be expected to work hard, and produce presentation quality materials regularly and consistently. At the end of the day, remember: this is not a professional architectural office. Risks may be taken - failure only leads to learning. Have fun and let your passions flourish.

sChedUle 320.MASS AvE_2012.M.4-7 We will begin each studio session promptly at 4:10, and strive to end at 7pm. This schedule is provisional, and may be adapted as issues arise. We will keep you updated as to changes accordingly, but it is your responsibility to inform us of any anticipated absences. BAC rules apply in regards to unannounced absences. We will have at least one site visit and potentally a meeting with YouthBuild. Stay tuned.

1.23

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3.5

3.12

ARCH

REP

REvIEW

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SYSTEM

SYSTEM

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SYSTEM

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YOU GROUP

INTRO

SITE vISIT TBD

SEA

WHAT IS SOCIALLY ENGAGED ARCHITECTURE?

CS1 CASE STUDY ANALYSIS

ARCH

NO CLASS

SITE FORM PROGRAM CIRCULATION TRANSPARENCY vOLUME SPACE SURFACE

NO CLASS

CONSTITUENCIES SITE + LANDSCAPE MATERIALS + FLOWS STRUCTURAL SYSTEMS ENERGY + CLIMATE TRANSITIONS MACROSCOPIC FLOWS EDUCATIONAL PROGRAMS

REvIEW

vISUAL REPRESENTATION TRANSPARENCY OF IDEAS CONvEYANCE PROCEDURES COORDINATION MEANING

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ESIGN

socially-engaged architecture?

3

ASSIGNMENT 1: 128 HOUR DESIGN INTERvENTION What does it mean to design socially-engaged architecture? What changes in the design process or scope from other forms of design? For the first week you will work in groups to identify a need, a user, and design an intervention in the public realm. Interventions may be demountable or permanent depending on realities of working in public space.

case study.‘WhAt Are they designing?’

“Case studies are analyses of persons, events, decisions, periods, projects, policies, institutions, or other systems that are studied holistically by one or more methods. The case that is the subject of the inquiry will be an instance of a class of phenomena that provides an analytical frame — an object — within which the study is conducted and which the case illuminates and explicates.”1

You will spend the next two weeks working individually to investigate one design practice or organization. You are responsible for chosing one project to document in addition to the practice model. Case Studies: Urban Think Tank Anna Heringer Rural Studio Growing Power Architecture for Humanity Michael Maltzan Architects This research will be based around a series of themes: Architecture [material systems, energy systems, structural systems] Landscape [ecological systems] Urbanism [social, political, economic systems] Production [flows, workers, assemblies, extractions, conflagrations] Education [informal/formal, skills training, design process]

architecture.

To explore the ideas presented through case studies, you will design a new institutional facility for YouthBuild International. “The mission of YouthBuild... is to empower and assist under-served young people...with the essential social, vocational, academic, and life skills necessary to navigate a positive pathway to self-sufficiency and neighborhood responsibility.” You will be responsible, as a group, for designing the boundary conditions of the project. This charrette is meant to get your design juices flowing and create an immediate product that may be further developed over the coming weeks.

CRITERIA 1. Simplicity / rationality of form 2. Design with climate [to be developed after initial charrette] 5. Context / siting / transitions 6. User / spatial experience

site.

Boston Given the economic disparities and locations of institutions and infrastructures across the city of Boston, where would this sort of program be best situated? Is it a network, campus or individual building? What are the implications of program on urban context? What is the relationship between the natural, built and social ecologies of the area and how could these be capitalized upon for your work?

3. G. Thomas (2011) A typology for the case study in social science following a review of definition, discourse and Dan Weissman Teaching Portfolio structure. qualitative|Inquiry, 17, 6, 511-521

Total [Re]Design Studio

TOTAL [re]DESIGN

4

program. construction training + vocational school + urban agriculture The program for this new institution will be partially determined by the group. However, at minimum the institution must include: Some classrooms (digital + analog capabilities) An open workshop space with provisions for wood, metal, CNC Administrative facilities Communal recreation space(s): Cafeteria / lounge / lockers Materials storage Outdoor Prototyping space(s) Urban Agriculture facilities (greenhouses, aquaponics, hydroponics, etc)

systems.

The execution of design products is a significant endeavor, but the complexity of design products

forces us to think at many scales. In the US, many parts, procedures and elements of building production are already systematized. Others are not. After the ‘completion’ of your design, you will ‘disassemble’ your building to understand and design methods by which the building will be constructed, as well as its abilities at controlling flows of people, energy, material, products and waste. You will design the systems, along with the architectural product that it relies on in this phase of our studio.

ELEMENTS TO CONSIDER AT MACRO AND LOCAL SCALES: Constituencies, site + landscape, materials + flows, structural systems, energy + climate, transitions, macroscopic flows, educational programs

representation.

This process will create many distinct products: 1. MATERIALITY + STRUCTURE This may resolve itself in physical models, exploded axonometrics, design details, wall sections, material investigations, samples, prototypes, construction methods, finite-element analysis, etc.

2. CONSTRUCTION DRAWINGS. This set of drawings shall not be based in the standard form of CD sets seen in typical architectural practice, but drawn for complete and simple understanding by inexperienced workers. Examples from IKEA and SHoP Architects shall be considered.

3. LARGE SCALE MAPPINGS As an inversion of the typical process of site analysis, this process shall zoom out to create large scale territorial mappings. Through representations, you will uncover flows of material, energy, work forces, students and instruction.

4. USERS + PROGRAM-ANALYSIS The design of this construction training and design school brings a diverse set of users to the fore including community members, students, and instructors. Based on the programmatic breakdown and structuring you design, even users from outside the neighborhood may gravitate to this place.

p19

Dan Weissman | Teaching Portfolio

The student explores a wealth of ideas that are relevant contextually and derived from studio led analysis.

Explorations also draw upon other disciplines beyond architecture.

These ideas are evaluated and form unexpected rules, arguments and concepts. The well-considered concept allows the viewer and the class to see the project in a new and unusual way.

The student takes the initiative to engage in well-crafted, expressive investigations. These occur at multiple scales that communicate difficult ideas using the medium that expresses them most clearly and interestingly The student exhibits a strong command of all conventions, giving them freedom to takes risks in material and medium to develop and communicate ideas.

The student presents a full range of artifacts [including exploded axons, defining sections and generative diagrams] that have a foundation in earlier analysis, clearly communicate a concept and its evolution, and are the fruits of tested medium and media.

relevant Conceptual Production [25 Points]

Collaborative initiative [25 Points]

Communication [25 points]

rubric designed by Kyle Sturgeon

The student’s rigorous analysis fosters animated discussion and debate in class and the opportunity for the student to develop ‘a stance’ on issues within the design problem.

research and development [25 points]

strong command + awareness [21-25 points]

The student presents a solid body of relevant work. The project is organized and its evolution is legible, but lacks in excitement or creative expression. More verbal description is required and drawings require study to be recognized as reinforcing one another.

The student’s investigations clearly communicate and are visually interesting. There are some risks or unique attempts to represent ideas.

The student exhibits a moderate command of conventions in media and medium, allowing them to take some risks and develop unique means of representation in some areas of production.

The student develops a clear and interesting concept based on a series of logical investigations.

There is some initiative to take risks, but relevant investigation is largely instructor led. A stance is taken on the problem, which is evident in several design moves.

Student’s analysis is generous and leads to complex discussions in class. The student leaves the analysis unrefined and potentially interesting concepts unexplored.

moderate command + awareness [11-16 points]

The student presents a relatively clear concept that is difficult to trace back to its inception.

Process is visible only with verbal description. There is very limited consideration towards layout or graphic consistency on the wall and requires intense questioning to understand.

The student meets basic investigative requirements, but is still developing conventional modeling and drawing tools.

Investigations are functional but lack ability to communicate completely on their own and are not expressive or inventive. Most work operates as a tool for study as opposed to representation.

The student sticks to a single idea based on Incomplete or ill analysis.

The concept is tangible but has many weak points and does not induce all major design decisions.

Student completes a set of general analyzes but does not interpret the information collected. Analysis fosters generic discussion of concept but it never moves beyond a general level because the student’s analysis requires more inquiry, rigor, or organization.

developing command + awareness [11-15 points]

qUALITATIvE RUBRIC FOR GUIDING AND ASSESSING STUDENT’S DESIGN PROCESS

Students work shows no evidence of process or conceptual development. Small amount of relevant work that struggles to communicate. Artifacts are dirty, broken or otherwise un-cared for.

The student does not meet basic studio requirements in media or medium control. Work is shoddily or incorrectly crafted and has little relevance to concept.

Drawings and models are made without clear intentions and only as a means of representation as opposed to a tool for exploration.

The student conveys little or no conceptual clarity. Ideas appear without foundations in analysis or evidence of origin. Disparate ideas come and go with little relevance to the problem. There is no evidence of a stance or opinion nor defining rules to help guide the exploration.

The student shows a lack of understanding of valid analysis as a generator for concept. He/She offers no analysis that can serve as the foundation for concept, or does not use this process to generate conceptual ideas. The insufficient investigation leaves little possibility for discussion or developing a valid stance that can be proven through their investigations.

Poor command + awareness [0-10 points]

TOTAL [re]DESIGN 5

assessment We strive for transparency of assessment through the use of rubrics. You will be provided this rubric ahead of each

submission deadline as a way of gauging your own production capacity. Grades shall be assigned based on points outlined below, in accordance with BAC’s standard Grading policies.

Total [Re]Design Studio

TOTAL [re]DESIGN

6

assessment ContinUed BAC Faculty Handbook 2010-2011 10

GRADE DEFINITIONS CHART

Grade

4.0 Scale 4.0

0-100 Scale 94 – 100

AB+ B

3.7 3.3 3.0

90 – 93 87 – 89 84 – 86

BC+ C

2.7 2.3 2.0

80 – 83 77 – 79 74 – 76

C-

1.7

70 – 73

D

1.0

60 – 69

Poor The work barely meets the minimum requirements of the class. Assignments lack depth and a display a minimal understanding of course goals. Ideas are presented with little or no detail or elaboration. Course guidelines are often not followed.

RF Repeat/ Fail

0.0

0 - 59

Unacceptable or missing work Repeat/Fail. The work neither satisfies the requirements of the class nor demonstrates understanding of course objectives. The presentation of work is unprofessional and/or incomplete. Overall, the student shows insufficient understanding of the course requirements. Poor attendance or violation of academic integrity policy may also be factors.

Incomplete Failure due to non-attendance Withdrawn

A

I NF W

0.0

Definition Excellent The work exceeds the requirements of the course and demonstrates complete understanding of course goals. In addition, assignments exhibit a level of critical thinking that has allowed the student to demonstrate creative problem solving. Ideas and solutions are communicated clearly, showing a high level of attention and care.

Good The work meets the requirements of the course and demonstrates understanding of course goals. The assignments reflect an ability to solve problems creatively, but solutions demonstrate inconsistent depth and critical thinking ability. Ideas and solutions are communicated effectively, but may lack the clarity and depth one sees in excellent work.

Fair The work meets the minimum requirements of the course and reflects understanding of some course goals but is lackluster. The assignments exhibit a basic problemsolving ability, but the process and solutions lack sufficient depth and demonstrate a need for greater critical thinking. Ideas are communicated ineffectively, showing a lack of attention to detail and a decided lack of clarity or depth.

p21

A1: 168 HOUR URBAN DESIGN INTERVENTION DUE IN-CLASS ON MONDAY, JANUARY 30TH, 2012, AT 4PM

Design an intervention that affects others in a positive way. This first assignment is purposefully simple, introducing students to the concepts of and relationships between design, urban space, and the social. We will continue to explore these concepts over the course of this semester, building on the intricacies and complexities of these issues.

LEARNING GOALS 1.

2.

3.

4.

Develop Collaboration Skills: For this assignment, you will be working as a group to design, implement, record, and communicate your urban intervention. Learning to engage ideas that are not necessarily your own in a passionate and productive fashion is an invaluable skill for all designers.

Building Realities: This intervention asks students to face the difficulties and realities of constructing in the public realm. Where can an intervention take root? What materials, tools, etc. are necessary to facilitate the intervention’s implementation and temporal duration? How does craft come into play?

Consider the cohesiveness of your intervention’s craft and assembly.

Understanding Purpose, Users, Impact: What does it mean to construct something that’s explicitly meant to perform a service for people? Is this act different from any other type of architecture? Define the service or purpose of your intervention, the users, and the social impact its aiming to provide.

Represent and Communicate your Intent Effectively: Document your project in an effective manner to convey ideas, intentions, uses, happy accidents, etc. How do certain representation techniques convey certain concepts?

GUIDELINES 1.

2.

3.

4.

Intervention must be physical. You must add material/matter to the urban condition. (Hypothetical / theoretical interventions are not allowed) Intervention must be documented as having made a positive effect on an existing condition. How do you measure effect?

Due to gorilla nature of this project, intervention may be temporary / fleeting.

Potential goal (extra credit!): Include a pedagogical element (intervention teaches something, engages occupants/users/public through an educational element).

Dan Weissman | Teaching Portfolio

Total [Re]Design Studio

p23

total [re]design project a2: case study analysis progress pin-up: monday february 6 at 4pm final presentation: monday february 13 at 4pm

“Case studies are analyses of persons, events, decisions, periods, projects, policies, institutions, or other systems that are studied holistically by one or more methods. the case that is the subject of the inquiry will be an instance of a class of phenomena that provides an analytical frame — an object — within which the study is conducted and which the case illuminates and explicates.”1

learning goals you will spend the next two weeks working individually to investigate one design practice or organization, documenting the question: ‘what are they designing?’

1. understand the methods of innovative design practices in relation to social engagement: how do architectural projects become facilitators for other non-physical processes / socioeconomic + political relationships, etc.

2. develop skills in diagramming: abstraction and clarity of thought to analyze architectural projects, identify spatial relationships, program, light, circulation and structure, represent specific conditions (spatial, social, pedagogical, etc).

3. analyze the role of form, and the architect’s hand in the creation of public building practice. guidelines step 1: choose one project from your assigned practice/organization. project should_ _be a built architectural object (building, not landscape or urban design project) _serves a/the public in some way (primary programs such as an institutional building, community center, educational facility, etc. but may also include various secondary programs) _serves a diverse population (multiple socio-economic, racial, ethnic groups) _accounts for / relate to its context (rural / urban / other) step 2: representation How can you use techniques of representation (2d/3d/4d) to convey issues / conditions / elements / systems of how your assigned practice and project operate? + How does the practice/organization operate / relate to the world / create____? + What are the architectural and ecological systems at play in your project (site/context, flows of people, energy, material, structure and transitions, program) + What are the social, political and economic systems at play in your project? + What methods were used for the production of the building (pedagogy of workers, community engagement, pre-fabrication vs on-site fabrication of components, innovation of materials, structure, and human capital) THE BUILDING’S ELEMENTS LEMENTS

CLADDING: COPPER + PERFORATED COPPER

STEEL ARCHES ST

copper shingles lateral span back-to-back c-shapes

3in

rigid insulation

perforated copper panel

for diffused light into circulation spaces

operable window glazing steel tube

interior finish

SEC COND FLOOR: UNITS + CIRCULATION

STE NET STRUCTURE + STEEL CONICAL COLUMNS

return air duct forced air supply duct

steel tube

interweaving to hold the decking up

IN-BETWEEN FLOORS: CRISIS + COUNSELING

ht ig yl da

steel tube to concrete wall connection

existing building

VERTICAL SHAFTS: CIRCULATION + MECHANICAL

garage door

for ventilation flow hung from a beam connected to the concrete wall

EXISTING BUILDING: OZANAM HOMELESS SHELTER

ventilation

structural concrete wall

FIRS ST FLOOR: G ASS ENCLOSURE GLA

step 3: output final submission: (2) 24”x36” boards, or a physical model as substitution for 1 board (and therefore replace 1 or more of the below drawings). model must be analytical in nature - as in, not representing mere physical reality. at minimum, drawings must include: + 1 diagram of practice/organization (people, money, relationships to clients/communities, location/place, etc) + Critical architectural drawings: site plan, building plan(s), section(s), elevation(s), wall sections, details - specifics to be determined by you (feel free to consult us with ideas) + 1 diagram of critical architectural systems (see above architectural + ecological systems) + 1 annotated rendering of project (perspective, axon, manipulated image)

interior finish

concrete decking rigid insulation + waterproofing membrane

concrete decking

FIRS ST FLOOR: FAC CILITIES + CIRCULATION

FIRS ST FLOOR: FAC CILITIES + CIRCULATION

6

boards should be organized hierarchically to show information clearly and deliberately. mid-week submissions to us for graphics review are encouraged. rough versions of all drawings should be presented at mid-review next week. experimental representational teCHniques enCouraged!

3. g. thomas (2011) a typology for the case study in social science following a review of definition, discourse and structure. qualitative inquiry, 17, 6, 511-521

Dan Weissman | Teaching Portfolio

concrete foundation gravel bed

DETAIL SECTION

Total [Re]Design Studio

U R B A N - T H I N K TA N K

U R B A N - T H I N K TA N K

“OUR CENTRAL CONCEPTUAL PREMISE IS THE S T U DY O F DY N A M I C C O N D I T I O N S A C T I N G O N MODERN CITIES” - U-TT U - T T I N T E RV E N E S I N TO T H E C I T Y AT T H R E E D I S T I N C T S C A L E S

PROJECT DEVELOPMENT THROUGH MULTIPLE FACETS

I N T E G R AT I N G R E S E A R C H A N D P R A C T I C E

V ER T I C A L

G Y M N A SI U M

# 1

-

B EL L A

KU L TU RS TIFTU NG DES BU NDES - MADE IN BAU HAU S DES S AU L EC TU RE AS S O S AC IO N C U L TU RAL , HU BO L T: BERL IN C U L TU RA U RBANA INFO RMAL : [C ARAC AS , VENEZ U EL A]

METROPOLITAN

URBAN

ARCHITECTURAL

-

BUIL DINGS

C ARAC AS :

MO BIL ITY

AND U RBAN C U L TURE [KAS S EL , G ERMANY]

FIL M

VERTICAL GYM LOCATED IN THE LA CRUZ BARRIO [CARACAS] IS A DESIGN INTERVENTION THAT IS APART OF A NETWORK OF GYMS ACROSS THE CITY.

EXHIBITION: PERSPECTIVES ON ARCHITECTURE AND URBANISM [NY, USA]

IT HOSTS 15,000+ VISITORS A MONTH

PROJEC TS P UBL IC

C A M P O , C A R A C A S V EN EZ U EL A

C ARAC AS :

SINCE INAUGURATION, IT HAS HELPED TO LOWER BARRIO CRIME RATE BY 30%

O F F I C E

D I V I SI O N S

F O U N D I N G PA RT N E R S A S S O C I AT E P A R T N E R S P RO J E C T S A R C H I T E C T S

INF RA STRUCTURE

WEB DESIGN RESEARCH TEAM C O L L A B O R AT I V E T E A M CONSTRUCTION MANAGEMENT C O M M U N I T Y C O O R D I N AT O R

FUNDING FOR BUILT PROJECT

HO USING

MUNICIPALITY OF CHACAO

2.000.000 [$US]

INS TITUTIO NA L

U- TT O F F ICE

U -T T Z U R I C H M A I N O F F I C E C H A I R FO R A RCH I TE CTURE E & URB A N DE S I GN - S WI S S I NS TI TUTE O F TE CH N O L O GY

T E AC H I N G E X H I B I T I O N S U - T T F I L M S

URB A NISM

2 0 0 1

2 0 0 2

2 0 0 3

2 0 0 4

2 0 0 5

2 0 0 6

2 0 0 7

2 0 0 8

2 0 0 9

2 0 1 0

2 0 1 1

RESEARCH DEVELOPMENT

Urban Think Tank Austin Banks

TOTAL [RE]DESIGN PROJECT A2: CASE STUDY ANALYSIS / Newbern Fire Station // Town Hall

/// Newbern, AL

Southern Poverty: The Black Belt The Black Belt: A region of the Southern United States. Although the term originally described the prairies and dark soil of central Alabama and northeast Mississippi, it has long been used to describe a broad agricultural region in the American South characterized by a history of plantation agriculture in the 19th century and a high percentage of African Americans in the population.

Because of the decline of family farms, the rural communities in the Black Belt commonly face serious poverty, rural exodus, inadequateeducational programs, low educational attainment, poor health care, substandard housing, and high levels of crime and unemployment. While African-American residents are disproportionately affected, these problems apply broadly to all ethnic groups in the Black Belt. The region and its boundaries have varying definitions, but it is generally considered a band through the center of the Deep South.

South-East Black Belt

Alabama Black Belt

Hale County, Al w/ Rural Studio locations

The Rural Studio: conceived as a method to improve the living conditions in rural Alabama and to include hands-on experience in an architectural education, by collaborating with the clients and community directly.

Students in the rural studio live in the same community they are working with, understanding the context first hand. This creates an architecture type that is created from within the community, not the outside.

Project description: Newburn Fire Station / Town Hall The Newbern Fire Department and Town Hall is the first new public building in Newbern for 110 years. Finished in 2004, It houses three fire trucks and satisfies the town’s needs for a place to house elections, council meetings, volunteer firefighter classes, fund-raising and community gatherings.

The building is supported by a wood and metal truss structure, which is enclosed by translucent polycarbonate panels, protected from the sun by cedar slats and topped-off with a galvanized aluminum roof. Inside there is a mezzanine level for firefighting classes and at the ground floor a bathroom and kitchen. An extraordinary effort by four students. Not only was the project conceived and built in just two years, but at the same time student Leia Price raised $100,000 in materials

Hale County pop. vs. state pop.

% of pop. >18yo & <65yo

Perceived vs. Actual Poverty

White - 73.65 Black - 26.36

2

12 th

s

Mon

Finish Carpe ntry Punch List Item

Client selection

Mon

th

5

th

Mon

11

Month 10

Site Prepe ration Earth work Dem oliti on

Cons

Surveying

tructi

on

Docu

ments

n

sig

ing

De

ram

Site

ilin g

mming

Prog

ta

8

Mon

th

Mon th 6

Month 7

Mon

th

9

Rural Studio Kyle Digby

3

Month 4

De

Construction: Surveying - 1 Demolition - 1 Site Preparation - 1 Earthwork - 1 Formwork - 1 Utility lines - 1 Framing and Carpentry - 1 Finish Carpentry - 1 Plumbing - 1 Electric - 1 Punch List Items - 1

th

Mon

Diagra

Design: Client Selection - 1 Diagramming - 1 Brainstorming - 1 Programing -1 Detailing - 1 Site Design - 1 Construction Documents - 2 Structural Documents - 1

entry s ork Carp Line mw and For Utility ing Fram Plumbing Electric

Construction Scheduling - 3 Research: Visiting Previous Prototypes - 2 Collecting census data about Hale County - 1 Examining building methods - 4 Material research and development - 4 Compiling material costs - 1 Scheduling - 1

Unemployment Rate

Mon th

Student Activity: Education: materials and methods - 3 Architectural history - 3 Detailing – 3

AL Poverty Level

Hale African American pop.

Month 1

donations.

Hale County Poverty Level

Kyle Digby

p25

total [re]design a3: the project begins.

“We have to have an education pipeline for people Who come here in poverty,so they don’t get trapped there.”

-paul grogan, president of the brookings institute in boston

For the next month we will work as a design team to develop a project that focuses on social interaction through education and design. You will collectively be responsible for determining the product(s), program(s) and site(s) for this project. Our initial conception of this studio was for a building located in Union square. Given your collective interests and aspirations, we feel that it is imperative that you take a stronger role in determining the parameters by which this studio will continue to operate.

PART 1: CASE STUDY EXTRACTION [INDIVIDUAL: 20min) STEP 1: Document ~5 elements from your case study that you’d like to take into account for our next phase.

STEP 2: Choose elements below that operationalize your vision for the studio project.

2. Will the site be + singular + multiple + local + non-local + Utopic + formal + informal + other__________ 3. Will the program be: + construction training + agricultural training + life training / vocational school + community center + composite + other__________

FOR MONDAY 2/27

1) Will the project be: + single building + a small campus + an institution + distributed network + infrastructure + other__________

base map for model computer model physical model analytical maps + diagrams

GROUP 1 GROUP 2 GROUP 3

get supplies

by 2/17 at latest

by 2/20 at latest

2/27

PART 2: DISCUSSION_SITE + PROGRAM [collective: 45min) PART 3: LOGISTICS Next monday = no class. We will plan to have some sort of session in the next 2 weeks, which may be a site visit (if we collectively decide that the site will remain in Boston), and/or a tutorial session for digital skills.

Based on the decisions above we will move forward with the collective portion of the studio project, which will at minimum include site mappings, site model (physical and digital), analytical diagrams of site and program, and proto-architecture.

FOR MONDAY 2/27: SITE MATERIALS [jobs TBD tonight] FOR MONDAY 3/12: ARCHITECTURAL MATERIALS [TBD on 2/27]

Dan Weissman | Teaching Portfolio

Boston Master Mapping Total and Site [Re]Design Selection Roxbury

Studio

Single Parent Home

1,997 Families w/ Children 158 Blocks

Mission Hill

Single Parent Home

Charlestown 86% 59%

East Boston

70%

Central

Allston/ Brighton

93%

Dorchester

West Roxbury

Roslindale Mattapan

Jamaica Plain

South Boston

South End

Roxbury

North Dorchester

77% 70% 59%

Area of Concern High Poverty, Minorities, Language Barriers Low Accessibility to Subway

64%

South Dorchester

Tenant Occupied Housing

Back Bay Fenway/ Kenmore

West Roxbury

Minority Population

502 Families w/ Children 29 Blocks

Demographics

Roslindale

Hyde Parkl

Site Selection - MBTA’s Bartlett Yard, Dudley Square

A shuttered T Garage in Dudley Square (80% Black and Hispanic, low-income, high crime). previously used for repair maintenance and storage of horse-drawn, then electric street cars and buses.

8.5 acres 2 buildings listed with Massachusetts Historical Commission September 25, 2006: Official RFP by MBTA was issued.

October, 2011: City of Boston denied Walmart the ability to build a retail store on this site.

Use discontinued due to facility being declared surplus to operational needs.

2005 West End Street Railroad Company

RFP Community Development Goals

(MTA) Metropolitan Transit Authority

Boston Elevated Railway Company

1900’s

1888

1930’s

1970’s

- Special Emphasis on maximizing economic development and job creation potential.

Dudley Square

3. Reinforce physical, social, and economic fabric.

reet rt St

Bart

lett

4. Leverage local resources of Roxbury 5. Build highly sustainable development.

Stre

et

ton Str eet

- high-quality architecture and urban design.

- communities facilities/public gathering places.

- integrated and active urban environment.

- lays groundwork for long-term economic benefits.

- creates sustained opportunity for local

Wash ing

8.6% 8.5%

- Economic linkages to larger Roxbury Community.

- Jobs/Careers for Roxbury residents.

- Community/Minority equity and ownership.

- Opportunities for local small business development.

- More homeownership opportunities.

Lam be

8.6% 7.9%

Vacant Housing

Hyde Park

Foreign Languages in the home

2. Generate Wealth for Roxbury Community

8.0%

September 25, 2006 October, 2011

Official RFP by MBTA issued. City of Boston denied Walmart purchase..

1. Implement Roxbury Strategic Master Plan

Mattapan

(MBTA) Massachusetts Bay Transportation Authority

Mill

mo

nt

Stre

et

6. Create successful transit-oriented development.

Demographics Paul Mertell

Access to Education Tess Faraci

7. Maximize value of Bartlett Yard.

Access to fresh Produce Christine Caupauno

p27

dudley guild design | build | educate | collaborate | grow MiSSiON STATeMeNT

We believe in the cultivation of both craft and design as conduits for community building and individual growth. Products may take many forms and scales, but the development of crafts, skills and process sustains a lifetime.

We are committed to creating spaces for learning, community engagement and social entrepreneurship. We believe in a holistic approach to the development of our local community, using this future facility as a catalyst for urban change.

SiTe SeleCTiON In light of the Roxbury Strategic Master Plan identifying the 424 Dudley St. site for development, the newly formed Dudley Guild shall purchase this site from the Roman Catholic Archbishop of Boston for construction of new facilities.

Existing structures shall be part of the purchase, and may be maintained and renovated, or removed at the discretion of the architect: Total [re]design Studio.

SiTe ASSeSSMeNT In itâ&#x20AC;&#x2122;s planning work for 424 Dudley St., the RSMPOC has arrived at a preference for wealth generating uses that create jobs, equity, and business ownership opportunities for Roxbury residents. The site can be redeveloped to create a mixed use development including education facility(ies) as well as commercial and retail uses that provides quality opportunities to citizens of Roxbury across a variety of income ranges. guideliNeS FOR deSigN The architect shall perform site assessment to determine existing conditions, including (but not limited to): climate, circulation, landscape, infrastructure, formal history, thresholds, and pollutants.

To achieve our mission, the guild requires a new facility that contains different types of spaces for learning and skills building, acknowledging that long-term use of the facility will require flexibility, and the ability for spaces to change over time. With that in mind, current needs include spaces for various digital and mechanical technologies as well as hand-craft and construction processes ranging from small crafts up through building prototype and construction.

In addition, the guild seeks to foster gathering and community building through spaces designed for informal interaction. This should include provisions for food, public gathering and presentation space, as well as student personal storage space, material storage and administrative facilities. These elements could occur at both the scale of the school or at the scale of the neighborhood.

To foster social entrepreneurship, the guild would like to engage the street fronts of Dudley and Magazine streets. Other considerations include the need for outdoor prototyping space, productive agriculture space, truck access and parking. Additional program may be suggested by the architect for consideration by the guild.

Dan Weissman | Teaching Portfolio

Total [Re]Design Studio

Site Selection

In order to choose a site, we asked all students to find a lot in Boston suitable for the project, and present it to the group. Then, the group discussed the options, and collectively choose a final site. Students were encouraged to present a case for why their site would work best for the studio. This experience forced students to work as a team and use critical analysis as a tool for making an argument.

After selection, we provided the students withe the document at left to assist in framing the project.

Columbia Road - blighted area - along a busy street

Melena Boulevard - easy access by buses - current parking lot

Erie Street - across from a future commuter rail station - among commercial buildings area

Washington Street - very large site - official RFP by MBTA - a shuttered T garage

Blue Hill Avenue - current parking lot - easy access with different bus routs

Great opportunities at the site on Washington St. with the large site space and potential to develope the project further along with RFP Community Development

Seaver Street - among residential area - easy access with bus route

Horation Harrison Park - spacious park - great vegetation

More potential opportunities at the site of Seaver St. since it is more accessible to bus transportation.

Bowdoin Street - intersection of heavy traffic - 5-minute-walk distance from a T station

Dudley Street - large open lot with two small existing buildings - surrounded by community space

Similar site situations between them but the one in Dudley St has more potential opportunities among the communities in the neighborhood

More potential to design the project among the different types of buildings and the local communities

Great area to design a construction school which provides opportunities to socialize between students and the local communities in the neighborhood

The final decision for the project site:

424 Dudley Street, Roxbury MA

Layout by lisa ishihara Drawing at top left by kyle digby

p29

TOTAL [RE]DESIGN A4: PREPARATION FOR MID-REVIEW

Bring together your site research and analysis into a cohesive concept for the project implementation TO COMPLETE: • Site Model • Site Analysis • Update Boston Analysis • Concepts for Project Program Site Model: • • • • •

Chip Board spray-painted white / grey tones (for infrastructural differentiation) • Foam or wood may be used as support or interlayers Easily demountable for storage Site location should be completely removable down to substructure Groups for Site Model: • Topography / Base: Christine, Paul, Kyle • Buildings: Austin, Tess, Lisa To Produce: Model: Scale at 1” = 16’ (to include minimum 2 blocks of context surrounding site)

Site Analysis: • • • • • •

Climate: Sun + Wind + Thermal Movement: Circulation + Modes of Transportation + Relation to the Urban Landscape: Blue + Green + Brown Formal History: Existing Structures + Adjacencies + Figure / Ground Liminal: Thresholds + Noise + Edges To Produce: • Site Plan: Scale at 1” = 32’ and 1” = 64’ • Other Analytical Drawings (Specifics Based on Categories - Discuss with Studio Instructors): Exploded Axonometric, Sections, Bird’s Eye-View Perspectives, Figure / Ground, Diagrams, etc.

Update Boston Drawings: •

• •

Graphic Continuity • Font • Lineweights • Color Content • Building up data / information / knowledge on chosen site and relation to Boston as a whole To Produce: Boston Plan: Scale at 1” = 3000’

Conceptual Program (Construction Training + Vocational School): • • • • • • • •

Minimum 3-4 classrooms Open workshop space including provisions for wood, metal, CNC Administrative Facilities Communal Rec Spaces: Cafeteria / lounge / lockers Material Storage Outdoor Prototyping Space Additional Potential Programs: • Agricultural • Other_______________________________________________ To Produce: • Physical Models: 3 Concept Models incorporating Program + Site Conditions

Dan Weissman | Teaching Portfolio

SITE: OVERLAY OF NEED + FILTER

SUPPORTING DRAWINGS

CITY: SWAP NEED + GRAPHIC UPDATE SUPPORTING DRAWINGS

Total [Re]Design Studio

mid-review structure

For our mid-review (one week from now at the time of this publication), we have organized the review not around individual student work, but the collective body of work being produced by the studio. This will allow us to foster conversation about the project as a whole. Reviewers will include architects, a landscape architect, an urban planner, and PhD students from the Harvard Graduate School of Education, serving the ‘client’ role.

TOTAL [RE]DESIGN: STUDIO 505 BOSTON ANALYSIS Place site model on bank of 6 desks in center of studio.

MOVE EXTRA DESKS INTO OTHER STUDIOS...

SITE MODEL

PROJECTOR

CONCEPT DRAWINGS

SITE ANALYSIS

CONCEPT MODELS

WINDOW WALL

Model should be able to break apart to fit on shelves above.

KEY DIAGRAMS FROM CASE STUDIES PROJECTION

N

MID-REVIEW PLAN MARCH 12, 2012

p31

DUE MAY 10 @ MIDNIGHT

Total [Re]Design Deliverables for final review.

Cartoon of Presentation - send to A+D This is a sketch of your final layout on the wall to scale with each drawing located. it is helpful to use indesign so you can acually place working versions of each drawing on the boards (you can just pdf the status of your boards with place-holders as well) Boston diagrams [new and updates] - send to A+D Boston analysis: (christine) will be shown, but not presented This includes lisa’s new site selection diagram Site analysis Kyle to compile - send to A+D + this includes new diagrams by tess+austin): + present w/ your project (proportion of presentation at your discretion and discussed w/ partner) Site model Paul to finish - send pics to A+D 2-5 min presentation pre-written and sent to aviva + dan by the night before review. you will not be allowed to present if you do not do this. NO EXCEPTIONS. Bullet points or full paragraph text ok.

FINAL PRODUCTS: review time TBD

SUPPORT DRAWINGS 2-4 precedents anaylized to show what matters (photos are not sufficient) Program diagram: Show space relationships, Relative scale of programs, Circulation Could show as massing on site 3D / 4D A minimum (7) vignettes throughout interior and exterior spaces are required from a 3d model. acceptable options for representation: + Rendered views with photoshop elements (people, texture, green, context, etc) + Hand sketches mixed with digital in some way (doesn’t necessarily need digital model for this, but encouraged) + Testing of representation styles here is highly encouraged and essential for your final review. We will spend time in this review on representation as a means of conveying concepts and ideas. + Locate ALL views on plan!

Physical model to fit in site model 2D DRAWINGS Architectural (Orthographic) of building + site design (to scale and indicated on drawing) Annotated Site plan (1”=32’ or larger) ORIENTED NORTH Annotated Additional plans (1’’=16’ or larger) ORIENTED NORTH Annotated Section(s) (3 min) (1”=16” or larger) Elevations as desired SYSTEMS + 1-4 Representations of system(s) of your choice (if one, it better be amazing and detailed and takes you 3 weeks to complete.) representations may be 2d drawing, 3d drawing, 3d physical models, etc. annotations are a MUST. A larger model of a section of the building is an acceptable option for 1 of these.

Note: Be aware that as you are now working in pairs, it is imperative that you both take responsibility for the various aspects of representational production. think critically about which elements you each want to take on.

Dan Weissman | Teaching Portfolio

Security Threshold

Total [Re]Design Studio CTION

s hop oom area

ENTRY PERSPECTIVE

TCUDORP LANOITACUDE KSEDOTUA NA YB DECUDORP

undary

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

p33

CHURCH Perforated Boundary

the canyon breaking open space for flow to occur christine caupauno + Paul martell

ING OPEN SPACE FOR FLOW TO OCCUR

o & Paul Martell

BIT & PRECEDENT STUDIES ARCH CE MULTI DIAGRAMS FOR ADULT EDUCATION PURPOSE educational opportunities that foster personal SPACE velopment, enhance a sense of community,

al responsibility.

Exposed structural elements - Acts as a learning/teaching tool in the education of youth.

- Provides engaging environments.

- Fosters creativity andofthe topdesire to understand one’s surroundings.

OW DIAGRAM

Dance

recharge

infiltration

ty toCOMPUTERS/ dropoff

ARTS

SITE RESEARCH & PRECEDENT STUDIES Site Plan

Toxic Ammonia

- Engage youth in the understanding of contemporary construction techniques

Scale: 3/64” = 1’ - 0” Nitrates

Terracing/Cantilevering - The pushing and pulling of floor plates allows to spaces to have multiple/differing - Functions, provides variety in spaces, and allows for the incorporation of natural elements.

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Sunlight

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GRAVEL FILTRATION BED

Pairings

Nitrates and Nutrients from Soil

FOOD/WINE

Creative

Music

GRAVITY

Produces outputs that benefit operator and participating community.

ro ction colle

Multiple Materials

Running

Wood Workshop DESIGN PROGRESSION DIAGRAM Walking Metal Workshop Tours Culinary Kitchens RECREATION FITNESS CNC, Milling Workshop en Cooking ardarea op areas to have classroom raing

TERIALS ORAGE

Through the use of terracing, natural forces/elements propel a series of processes that together create a closed-loop, self-sustaining sytem requiring little human input or maintenance.

Design in progress by Oppenheim Architecture & Design, Miami

Security Threshold

ment ECHNICAL INSTRUCTION

AQUAPONICS “CLOSED LOOP” SYTEM

VIRGINIA BEACH YOUTH CENTER - DESIGN PLAN

Photosynthesis

(fish fodder)

h Toxic Ammonia saturated H2O

TECHNOLOGY

IN

AZ MAG

Plant Waste

hig

Baking

GROWING BED

Nitrate enriched H2O

(essential to plant growth, toxic to fish)

Theater/Film

Writing ESL

H2O saturated with plant waste and O2 (essential for fish food)

LANGUAGES

Rain Garden

Plant Waste consumed

Foreign Languages

Toxic Ammonia

tion filtra

(fish waste)

Maturation of fish

FISH POND

low

Catch Basin (Roof Water Collection)

Reproduction of fish

rowth

Farmers Market

Toxic Ammonia saturated H2O

rainwater from rooftop

distribute clo

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as needed

Electricity

$

Owner/System Operator

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FLOOR PLANS

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Admin.

Culture Knowledge Students Local Materials Local Businesses

WC

WC

WC

Greenhouse

DN

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5

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Knowledge Opportunity Telented Workers

DN

25

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WC Studio Classroom

TCUDORP LANOITACUDE KSEDOTUA NA YB DECUDORP

w Public Space

FLOW DIAGRAM

Culinary Classes Comp.

Lab Comp.

Classroom Comp.

Classroom

Second Floor Plan Scale: 1/16” = 1’ - 0”

Personal Finances

SCHOOL ADMIN.

Prototyping

Site Boundary

Construction Technologies PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PASSION & COMMUNITY PRIDE

FacilitiesCOMMUNITY & Land PERSONAL HEALTH Instructors

Section

Business Classes

FORMAL EDU.

Proj.

Management

LIFE PRACTICES Personal/Family Health

A

Value-added Product Development

Raised RipRap Display Platform

4

Open Space

Open to Below

Aquaponics Plant Bed

Compost

Compost

3

Community Garden

Cistern

Outdoor Classroom/ Prototyping

2

Aquaponics Fish Tank

Wood Workshop

Atrium/ Gallery Space

CNC Lab

CNC Lab

Culinary

AGRICULTURE/ FOOD

Composting

Vehicle Exit

Planting Beds Ground Floor Plan Scale: 1/16” = 1’ - 0”

Faculty/ Staff Parking

Mech.

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Scraps Projects created by students

Section

Scale: 1/16” = 1’ - 0”

Tuition

of ch ur

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$

Programmatic application of case studies

Cafeteria/ Restaurant

Outdoor Prototype Area

B H2O Storage Outdoor Prototype Area

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FARMERS MARKET

Material Storage

Mech.

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Healthy Food Jobs Value-added Products Basement Floor Plan Scale: 1/16” = 1’ - 0”

Section

Scale: 1/16” = 1’ - 0”

C

ES

3

1

Community Garden

Greenhouse

Cafeteria/ Restaurant Covered Patio

Catch Basin

Urban Agriculture

Workshops Studios Cafeteria/Restaurant

Culinary Classroom

Kitchen

Rain Garden

1

Sawdust

SCHOOL ADMIN.

WC

Studio Classroom

Scale: 1/16” = 1’ - 0”

EDUCATION

MA

Aquaponics Fish Tank

Gravel (typ.)

For natural filtration of Aquaponics and Cistern systems.

Organic Food for community

Dan Weissman | Teaching Portfolio

4

5 2

Total [Re]Design Studio FLOW DIAGRAMS FLOOR PLANS WATER FLOW DIAGRAM

Flexible Classrooms

op rooft ion ct colle

Roof Terrace

Admin.

WC

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Second Floor Plan

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Compost Bin Community Garden Planting Beds

WC Studio Classroom

tion filtra

Community Garden Planting Beds

h

hig

Rain Garden

1

Raised RipRap Display Platform

Community Garden

Greenhouse

Cafeteria/ Restaurant

4

Covered Patio

Open Space

Open to Below

2

Aquaponics Fish Tank

MATERIAL FLOW DIAGRAM

Cistern

Wood Workshop

Atrium/ Gallery Space

SCHOOL ADMIN.

Community Garden

Outdoor Classroom/ Prototyping

Aquaponics

CulinaryPlant Classes Bed

Compost

3

Catch Basin

CNC Lab

CNC Lab Vehicle Exit

Ground Floor Plan

Compost

Scale: 1/16” = 1’ - 0”

EDUCATION

PASSION & COMMUNITY PRIDE

Faculty/ Staff Parking

Cafeteria/Restaurant

COMMUNITY & PERSONAL HEALTH

Planting Beds

Mech.

Rm

Outdoor Prototype Area

Sawdust

H2O Storage

Scraps Projects created by students

Outdoor Prototype Area

H2O Storage Material Storage

Mech.

Rm

Basement Floor Plan Scale: 1/16” = 1’ - 0”

3

6

1

4

2

p35

the constructionist school Austin Banks + Lisa ishihara

analysis

LONG SECTION sto chasti c human pro ce ss analys i s

E A

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DUD LEY EET

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SITE PLAN

Dan Weissman | Teaching Portfolio

student : faculty : staff :

markov chain

HUMAN PROCESS FLOWS

ne azi

this analysis seeks to identify which programatic elements inspire human state

S F St

N

F S St

n

for indiscrite time parameter

findings

visitors are significantly more likely to return to a

Total [Re]Design Studio

PROCESS FLOWS

PROCESS EVOLUTION vs PROGRAM CLASSROOMS

FAB-LAB

VERTICAL PROTO-TYPING

GRADED PROTO-TYPING

SLOW CHANGE OFFICES/ADMIN SLOW CHANGE

RAPID CHANGE PRIVATE STUDY

CAFE

CAREER CENTER

STUDENT STORE RAPID CHANGE

p37

VERTICAL PROTOYPING SCAFFOLDING

fabrication lab & workshop spaces WORKSHOP SPACE SURROUNDS VERTICAL PROTOTYPING SCAFFOLDING

scaffolding allows separation of tasks and projects by easily assemblable panels

PANEL DESIGN easily connectable allows for tool storage panel attachment peg

1’

rotatable bar

2’

accessory peg

DETAIL OF PANEL DESIGN THAT panel detail for classroom walls

Dan Weissman | Teaching Portfolio

COMPRISE CLASSROOM WALLS

adaptable veritcal protoyping structure allows a large variety of project type asseblies

interactive construction school - graded proto space

Total [Re]Design Studio

machinery for fabricating into grade

barriers between fabrication space, vertical prototyping space graded prototyping space and classrooms are permeable

et

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clam bucket distributes aggregate to create grade

Interior Renderings: Rhino

Physical Model

p39

Haptic Resonance photo pby Kyle Sturgeon Dan Weissman | Teaching Portfolio

Bluegrass Urbanism Studio

BLUEGRASS URBANISM

The rebirth of traditional technologies to address future design challenges or: just some good ol’ down-home opportunistic sustainability.

C Level Summer Studio 2011 Understanding Goals

+ Use mapping as a method for understanding and critiquing urban space. + Investigate and come to terms with seemingly disparate (or dichotomous) concepts through architectural intervention. + What is a 21st century school? + Down and dirty representational skills building (Adobe CS, Ecotect, GIS, Rhinoceros, Vray)

This 2 month studio course asked students to take a stance on a series of urban issues that I presented in the text below. In the short time frame, I was aware that final product work would be less important than introducing a set of processes for working. We spent the first month on an extensive mapping exercise of Union Square in Somerville, MA, where asked students to develop sills using a range of tools including GIS, Ecotect and Adobe Creative Suite. For the architectural project (the 2nd month), I asked students to all choose a site for their project within Union Square, to develop the skill of site identification in preparation for their future thesis work. Projects then could engage any condition critical to the student, including infrastructure, programming, iconic form, context, climate, etc.

The long-held dichotomy between the rural and the urban is breaking down. To the ruralite, the urban is a parasite on the landscape, an infection, a disease the continues to prey upon nature for resources. The urbanite, enlightened to the fervor and excitement of human density, assumes superiority, looking with disdain upon the backward, outmoded, and anachronistic value systems of the rural. In fast-growth areas of India and China, rural immigrants bring to the city a set of traditions at odds with the speed of progress. In the United States, the continual clash of Conservative versus Liberal values tends to limit productive conversation. However, this archetype is a misnomer, provoking the question: are other connotations for the ‘rural’ available within older, slower growing cities in the West? The rural has certainly infected the urban in positive ways, and has yet to be capitalized on by urbanists and architects.

Recently, bluegrass has seeped in from the ruralism of its multi-cultural birth into the mainstreams of urban consciousness, redefining in spatial terms the valuesystems of the contemporary urban dweller. Where farmers markets are the immediately condurable conduit between the rural agrarian zones and urban economic cores, urban farming has taken center stage in a discussion of the performative post-industrial urban landscape. However, other cultural elements of this oft-desired shift have yet to be investigated. Although seeded with a certain connotation, Bluegrass represents a very different utopian vision from say, New Urbanist formalism, seeped in cultural nostalgia. Bluegrass presents the opportunity for adapting to on-the-ground realities of contemporary life in cities. Bluegrass as a music style exists at the intersection of traditional British-isles folk and the improvisational methods of jazz from traditional African folk. It has served as a malleable genre over its history, easily incorporating other folk (rural) and rock or hip-hop (urban) elements as new interpretations have proliferated. It has subsumed instruments classically used in other musical forms. It is a musical style of improvisation over tradition; it is the embodiment of complexity theory. It is the original ‘MASH-UP.’ p41

BLUEGRASS URBANISM

2

FROm THis, sOme QuesTiOns emeRge

In the face of technocratic overloads, pending environmental degradation and general unease over world affairs, can this framework foster a more enlightened and engaged public?

Can contemporary design practice mediate between the hyper-digitized world and the realities of making place through the experience economy? How can this meditative architecture influence its context in positive ways?

Can bluegrass be a metaphor for a potentially more sustainable urban experience fueled by cultural diversity and the agnostic use of space and truth in material use?

sTuDiO OBJeCTiVes

The purpose of this studio is to probe the concept of the Mash-Up in contemporary culture through architectural process and product. Emphasis will be placed on spatial and contextual [architectural] relationships, environmental, social and economic sustainability, atmospherics [optics, thermodynamics, acoustics], and public[s]. Remember, this is not a professional architectural office. Risks may be taken and failure only leads to learning. No one will be sued.

RePResenTaTiOn

Here, representation is not a passive actor, but has the ability to reinforce project concepts. Precisely drafted architectural drawings are encouraged, but will take a back-seat to highly developed diagrams, atmospheric renderings and other drawings or models that seek to understand the etherial and the tangible.

all work produced for pin-up and review must be mediated by digital means in some way.

Sketching and hand modeling may be shown in desk-crits, but must include a level of rigor in thought and presentation. There is reason to this madness: This studio is fundamentally about the mediation between historical cultural outputs in juxtaposition to the contemporary milieu [the mash-up]. How does folk culture fit within today’s world? It cannot be through retreat in to anachronistic methods for information transfer. Just as Ganstagrass is bought and sold though iTunes, so to are you will are asked to probe the representational potentials of mixed media using digital as well as analog platforms. We will produce beautiful drawings.

For the first half of the semester all work shall be presented on 11”x17” Paper.

You will, in parallel to the content researched and produced, develop a representational style through rule-sets to govern graphic choices. As you will be expected to work across the breath of design tools and media, skills building sessions may be added depending on need.

sTuDiO CulTuRe

I strive to create a studio atmosphere for collective learning and risk taking. Your participation in discussions and group desk critiques is critical to the success of the studio, and your own development as a student. Uncritical, hurtful comments will not be tolerated. Moreover, it is in your best interest to work IN STUDIO as often as possible, where you may learn from each other.

PinuP + ReVieWs

Pinups and reviews are for collective learning as well as demonstrations of understanding. You MUST be pinned up BEFORE the critique begins, or risk not presenting. Outside critics will be present for at least the 5.27 and 6.28 reviews, but may be brought in under more casual circumstances by instructor discretion.

This studio is not for the feint of heart. You will be expected to work hard, and produce presentation quality materials regularly and consistently. But you all will walk away from this studio with projects to be proud of, and a process of working in the future.

Dan Weissman | Teaching Portfolio

BLUEGRASS URBANISM

Bluegrass Urbanism Studio 3

siTe: union square a contentious urban setting.

As I sit at Block 11 writing this, a group of protestors march by, chanting:

“What do we want in Union Square? Not another Davis Square!”

PROvOCATIONS:

What are the implications of program on urban context? How to introduce a program like a music school that may appeal to the white gentrification crowd but pushes out those that have lived in the square for generations? Is affordable housing an architectural problem? What will the implications of the new Green Line Station be?

SCIENCE FICTION: Summer 2015 and beyond

Architectural projects are science fiction. Although projects have the potential to be projective or retrospective, Bluegrass Urbanism seeks the projective: to imagine worlds not yet realized. Your proposal may be highly situated in contemporary practice or placed in an infinite set of potential futures of your choosing. However, projects may not exist before the summer of 2015, and assumptions concerning urbanization and re-urbanization patterns must consider projected futures including the Green Line expansion, impending gentrification/demographic shifts and climate change. Any tendencies towards anachronistic visions of American Urbanization shall be squashed.

siTe OPeRaTiOns

Over the first half of the studio [6 classes] we will collectively discover Union Square through mapping and diagramming, as well as digital modeling. Three ‘projects’ will be developed in tandem:

siTe PROJeCT 1: Mappings to understand Union Square

The project will draw heavily upon the complex natural and social ecologies of central square. You will work in small groups to understand Union Square’s ‘infrastructures’: EDGES: Where does Union Square start and end? Demographic boundaries? Zoning?

NATURAL ECOLOGIES: Living + geologic conditions MICRO-CLIMATES: Sun, wind, rain, snow, acoustics SOCIAL ECOLOGIES: History, demographics, social services, community organizations ARCHITECTURAL ECOLOGIES: History, materiality, structures SURFACES + MOBILITY: Materiality? Past, present and future modes of movement to and through the square.

siTe PROJeCT 2: [Digital] Site model of union square You will collectively build a digital site model of Union Square. Details to follow.

siTe PROJeCT 3: Space Time Narrative

In preparation for your future thesis, each of you will be responsible for choosing an appropriate site for your project. To situate your architectural proposal, you will develop a written space-time narrative that allows for future design decisions to be made.

p43

BLUEGRASS URBANISM

4

uniOn sCHOOl OF FOlk musiC Noting the increased interest in Bluegrass and other folk music styles around Boston, the Old Town School of Folk Music in Chicago IL would like to invest in the City of Somerville as their second outpost. Partnering with local institutions such as Berklee School of Music, the Somerville Arts Council, North Bennett Street School and the Boston Bluegrass Union you are to envision this new institution located in Union Square with a primary goal of community participation through playing music. The mind-set is: get as many folks to play as possible, and worry about their technique later!

DESIGN 1: Massing and Passive technologies [2-3 classes]

You will research an architectural technology for passively controlling the interior climate/light in the climate of New England, while also beginning massing studies of the building based on your assigned technology.

DESIGN 2: Architectural Realization [8 classes]

You will apply lessons learned throughout the semester in site analysis, passive technologies research and massing studies into the realization of the School of Folk Music.

The Program will include, at minimum: a theater/music performance space, retail store open to public, a series of rehearsal rooms and studios of various sizes, repair shop with ability to teach repair and instrument construction classes, and public spaces such as bathrooms, refreshments stand, coat room, security. A relationship to other proposed external programs such as an affordable housing project will be encouraged, but resolution shall only be in massing.

Sizes of each program are to be determined collectively as specifics of site and conceptual rationalization evolve through the studio. Additional information will be made available as the studio progresses. Questions welcome.

Dan Weissman | Teaching Portfolio

BLUEGRASS URBANISM

5

sCHeDule 320.MASS AvE.JJ2011.M/TH.4-7

Bluegrass Urbanism Studio

We will begin each studio session promptly at 4:10, and strive to end at 7pm. Unless otherwise noted, we will discuss readings and have a group pin-up on Mondays, and individual or small group desk-crits on Thursdays.

Due to a potential travel requirement, I may have a substitute assist for a few sessions. More information to come. This schedule is provisional, and may be adapted as issues arise. I will keep you updated as to changes accordingly, but it is your responsibility to inform me of any anticipated absences. BAC rules apply in regards to unannounced absences.

Week

monday Pin uPs

Thursday Desk CRiTs

Readings DisCusseD mOnDaYs WiTH Pin uP

Theme

1

5.6 INTRODUCTIONS group site analysis

5.9 Marot: Sub-urbanism and the art of memory group SITE ANALYSIS Corner: The Agency of Mapping Organize site model Mathur da Cunha + other Drawings

urbanism

1a

Saturday 5.11

SITE vISIT

BRING SKETCH BOOK + MAPS + CAMERA

2

5.13 PIN-UP

5.16 group DESK CRITS

Guattari: 3 ecologies Branzi: 7 suggestions for athens charter

landscape

3

5.20 PIN UP

5.23 DESK CRITS [mass]

Frampton: Critical Regionalism Olgyay: The Bio-climatic Approach

architecture

4

5.27 5.30 SITE+MASS REvIEW DESK CRITS

Debord: Commodity as Spectacle

architecture

5

6.4 HOLIDAY

6.7 group DESK CRITS

Thomas J. Misa The Compelling Tangle of Modernity and Technology

landscape

6

6.11 PIN-UP

6.14 DESK CRITS

architecture

7

6.18 PIN UP

6.21 DESK CRITS

urbanism

8

6.25 DESK CRITS

6.28 FINAL REvIEW

design

nOn Class Time sessiOns SITE vISIT Saturday June 11: Union Square Farmers Market Plan to spend a good 2-3 hours with camera, sketch book, pre-printed maps. We will explore the territory as a group and then break into groups to be responsible for gathering one piece of information across the territory, as discussed on 5.9.

RETURN TO SITE. You are expected to return to the site a minimum of one additional time during the latter half of the studio to see if your tested assumptions jive with reality. Use this time to re-take more precise photographs of your chosen site, explore the music and food of the area and draw.

COMMUNITY MEETING MassDOT is holding a public meeting to discuss the Union Square T Stop design on June 22nd from 6PM – 8PM at the Cummings Elementary School, 42 Prescott Street, Somerville. Although not required, it may be interesting.

CANTAB Tuesday nights feature bluegrass bands at Cantab Lounge in Central Square [Bluegrass loosely defined]. Although not required, I highly suggest that you go at least once during the semester. I will plan to go a few times and you’re welcome to join.

p45

Dan Weissman | Teaching Portfolio

The student explores a wealth of ideas that are relevant contextually and derived from studio led analysis.

Explorations also draw upon other disciplines beyond architecture.

These ideas are evaluated and form unexpected rules, arguments and concepts. The well-considered concept allows the viewer and the class to see the project in a new and unusual way.

The student takes the initiative to engage in well-crafted, expressive investigations. These occur at multiple scales that communicate difficult ideas using the medium that expresses them most clearly and interestingly The student exhibits a strong command of all conventions, giving them freedom to takes risks in material and medium to develop and communicate ideas.

The student presents a full range of artifacts [including exploded axons, defining sections and generative diagrams] that have a foundation in earlier analysis, clearly communicate a concept and its evolution, and are the fruits of tested medium and media.

Relevant Conceptual Production [25 Points]

Collaborative initiative [25 Points]

Communication [25 points]

rubric designed by Kyle Sturgeon

The student’s rigorous analysis fosters animated discussion and debate in class and the opportunity for the student to develop ‘a stance’ on issues within the design problem.

Research and Development [25 points]

strong command + awareness [21-25 points]

The student presents a solid body of relevant work. The project is organized and its evolution is legible, but lacks in excitement or creative expression. More verbal description is required and drawings require study to be recognized as reinforcing one another.

The student’s investigations clearly communicate and are visually interesting. There are some risks or unique attempts to represent ideas.

The student exhibits a moderate command of conventions in media and medium, allowing them to take some risks and develop unique means of representation in some areas of production.

The student develops a clear and interesting concept based on a series of logical investigations.

There is some initiative to take risks, but relevant investigation is largely instructor led. A stance is taken on the problem, which is evident in several design moves.

Student’s analysis is generous and leads to complex discussions in class. The student leaves the analysis unrefined and potentially interesting concepts unexplored.

moderate command + awareness [11-16 points]

The student presents a relatively clear concept that is difficult to trace back to its inception.

Process is visible only with verbal description. There is very limited consideration towards layout or graphic consistency on the wall and requires intense questioning to understand.

The student meets basic investigative requirements, but is still developing conventional modeling and drawing tools.

Investigations are functional but lack ability to communicate completely on their own and are not expressive or inventive. Most work operates as a tool for study as opposed to representation.

The student sticks to a single idea based on Incomplete or ill analysis.

The concept is tangible but has many weak points and does not induce all major design decisions.

Student completes a set of general analyzes but does not interpret the information collected. Analysis fosters generic discussion of concept but it never moves beyond a general level because the student’s analysis requires more inquiry, rigor, or organization.

Developing command + awareness [11-15 points]

QUALITATIvE RUBRIC FOR GUIDING AND ASSESSING STUDENT’S DESIGN PROCESS

Students work shows no evidence of process or conceptual development. Small amount of relevant work that struggles to communicate. Artifacts are dirty, broken or otherwise un-cared for.

The student does not meet basic studio requirements in media or medium control. Work is shoddily or incorrectly crafted and has little relevance to concept.

Drawings and models are made without clear intentions and only as a means of representation as opposed to a tool for exploration.

The student conveys little or no conceptual clarity. Ideas appear without foundations in analysis or evidence of origin. Disparate ideas come and go with little relevance to the problem. There is no evidence of a stance or opinion nor defining rules to help guide the exploration.

The student shows a lack of understanding of valid analysis as a generator for concept. He/She offers no analysis that can serve as the foundation for concept, or does not use this process to generate conceptual ideas. The insufficient investigation leaves little possibility for discussion or developing a valid stance that can be proven through their investigations.

Poor command + awareness [0-10 points]

BLUEGRASS URBANISM 6

assessmenT I strive for transparency of assessment through the use of rubrics. You will be provided this rubric ahead of each

submission deadline as a way of gauging your own production capacity. Grades shall be assigned based on points outlined below, in accordance with BAC’s standard Grading policies.

BLUEGRASS URBANISM

8

Bluegrass Urbanism Studio

ReFeRenCes

ARCHITECTS / DESIGNERS

SAM MOCKBEE/RURAL STUDIO: Critical Regionalism LATERAL OFFICE: Infrastucturalism RAHUL MEHROTRA: critical regionalism BJERKE INGALS GROUP [BIG]: diagrams and forms RENZO PIANO: structure WORK A/C: urban analysis and architecture URBAN LAB: urban analysis and architecture KIEL MOE: sustainable design techniques CATIE NEWELL: Interactive and site-based art installations MACRO LOCAL LAB www.thelocallab.com

DRAWING / DIAGRAMMING

Infranet Lab fffound.com BLDGBLOG Mathur + da Cunha http://www.lulu.com/product/paperback/elements-2009/13210582 http://taubmancollege.umich.edu/architecture/publications/dimensions/dimensions24/

UNION SQUARE

http://unionsquaremain.org http://www.somervilleartscouncil.org/ http://en.wikipedia.org/wiki/Union_Square_(Somerville)

Union Square Main Streets Initiative

BLUEGRASS/FOLK MUSIC

Boston Bluegrass Union http://www.bbu.org Chris Thile / Punch Brothers / Mike Daves Trampled By Turtles Railroad Earth Bela Fleck Holler to the Hood: http://appalshop.org/h2h/musicmix.htm Old Town School of Folk Music

PaRaDOXes Urban : rural : sub-urban rich : poor digital : analog high tech : low tech networked : independent

keYWORDs Mash Up Collective experience Creative economy Experience economy Transparency Technology Ecologies Context Atmosphere

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PART 1: SITE OPERATIONS [1 MONTH] Over the first half of the studio [6 classes] we will collectively discover Union Square through mapping and diagramming, as well as digital modeling. Three ‘projects’ will be developed in tandem: SITE PROJECT 1: Mappings to understand Union Square The project will draw heavily upon the complex natural and social ecologies of central square. You will work in small groups to understand Union Square’s ‘infrastructures’: Edges: Where does Union Square start and end? Demographic boundaries? Zoning?

Natural Ecologies: Living + geologic conditions micro-Climates: Sun, wind, rain, snow, acoustics Social Ecologies: History, demographics, social services, community organizations Architectural Ecologies: History, materiality, structures Surfaces + Mobility: Materiality? Past, present and future modes of movement to and through the square.

SITE PROJECT 2: [Digital] Site model of union square You will collectively build a digital site model of Union Square. Details to follow.

SITE PROJECT 3: Space Time Narrative In preparation for your future thesis, each of you will be responsible for choosing an appropriate site for your project. To situate your architectural proposal, you will develop a written space-time narrative that allows for future design decisions to be made.

Dan Weissman | Teaching Portfolio

Bluegrass Urbanism Studio

UNION SQUARE MAPPINGS Hayley Bowsa p49

Timeline: Jess Leong

Dan Weissman | Teaching Portfolio

Bluegrass Urbanism Studio

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part 2: union School of Folk Music [1 month]

Noting the increased interest in Bluegrass and other folk music styles around Boston, the Old Town School of Folk Music in Chicago IL would like to invest in the City of Somerville as their second outpost. Partnering with local institutions such as Berklee School of Music, the Somerville Arts Council, North Bennett Street School and the Boston Bluegrass Union you are to envision this new institution located in Union Square with a primary goal of community participation through playing music. The mind-set is: get as many folks to play as possible, and worry about their technique later!

DESIGN You will apply lessons learned throughout the semester in site analysis, passive technologies research and massing studies into the realization of the School of Folk Music.

The Program will include, at minimum: a theater/music performance space, retail store open to public, a series of rehearsal rooms and studios of various sizes, repair shop with ability to teach repair and instrument construction classes, and public spaces such as bathrooms, refreshments stand, coat room, security. A relationship to other proposed external programs such as an affordable housing project will be encouraged, but resolution shall only be in massing.

Sizes of each program are to be determined collectively as specifics of site and conceptual rationalization evolve through the studio. Additional information will be made available as the studio progresses. Questions welcome.

Dan Weissman | Teaching Portfolio

Bluegrass Urbanism Studio

Process work by Eddie Gafney.

This was Eddie’s first studio in 10 years, having worked in practice in the intervening time. He struggled to let go of his preconceptions about the meaning of the design process. Although he didn’t create a ‘final’ project by the end of the semester, Eddie loosened up considerably through the course, working across media and representation styles.

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john bernardo

Dan Weissman | Teaching Portfolio

Bluegrass Urbanism Studio

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haley bowza SITE SELECTION The chosen location for the site fills a void where there are currently no events taking place. The site will become a gateway for the proposed subway stop due to be completed in 2015. The new train stop is shown on the map at right, and illustrates how the site will be adjacent to a major entrance point into union square. This is a key intersection, which Somerville has focused on developing in the coming years. The Bluegrass Music school will adapt in response to growth in Union Square.

Site

The rendering below was a first look at some design ideas for the building. The building should incorporate art, nature, and be inclusive of all demographics through a common theme of music.

!

The chosen site brings events to a new area of Union Square

PHYTOREMEDIATION After the site was selected, research found that the reason this prominent site in Union Square is not currently occupied, is because a high amount of pollutants are in the soil.

Arsenic, lead, and PCB’s are all present and need to be removed in order for the site to be used. Typically the soil would be excavated and brought to a biohazard landfill.

Phytoremediation is an alternate solution which uses plants to remove the heavy metals from the soil. Certain types of plants will absorb specific metals. Ferns, for example, are hyper-accumulators of arsenic. Phytoremediation is both cost efficient and sustainable. This project will use phytoremediation as the first phase of a series of changes that build upon the site. The project can be seen in a similar light to the phytoremediation process. A change is added to the site, it is left to mature and grow over a number of years, and then a new change is implemented. In this manner the site remains fresh and will continually enliven and engage with the surrounding community.

1

Excavating and landfilling the top 1-foot of an acre of contaminated soil requires handling and disposing of roughly 2000 tons of soil. Phytoextraction would require disposal of only 50 tons of biomass. The diagram above compares the two options graphically.

Phytoremediation is much more effective at reducing landfill waste.

4

Heavy metal deposits are transported to the upper parts of the plant.

3 The top portions of the plants are harvested and brought to a biohazard disposal site.

Proposed planting layout for the site.

1

SEDGE: PCB’s

Root absorption from soil fluids.

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2

2

CORN: lead

3

FERN: arsenic

4

SUNFLOWER: lead

Some types of plants can be converted into biofuels, furthering the benefit of phytoremediation.

Dan Weissman | Teaching Portfolio

64

Bluegrass Urbanism Studio FORM: ITERATIONS

Form Iterationsy bow

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PHASING PHASE 0

The project involves a ten year process to remove pollutants from the soil. To begin, the site is covered in plants. For the ďŹ rst year these plants are allowed to grow and remove a large amount of toxins from the soil. Nothing is built on the site during this phase.

PHASE 1

During Phase 1 a small stage is built on the site. This allows phytoremediation to continue on the majority of the site, while the community begins to interact with the site during bluegrass performances.

PHASE 2

The music school will have all of the required program by Phase 2. The building grows upward and clusters begin to form. The clusters contain performance spaces, retail stores and repair shops. Classrooms and practice spaces are inserted as needed.

PHASE 3

This phase incorporates other program into the building beyond the scope of the music school. Spaces for display and performance art are dispersed throughout the building. Each cluster contains multiple space types so that no matter where you are in the building, any number of experiences may be had. Rickies Flower Market (currently across the street) can move onto the remediated site adjacent to the building, allowing for a public library to be built in its place. This is already part of Somervilleâ&#x20AC;&#x2122;s Master Plan.

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Dan Weissman | Teaching Portfolio

Bluegrass Urbanism Studio

Because the building grows over time, it is difficult to project the needs of the music school in 50 years time.

Therefore, the main structure creates a frame which program can later be inserted into on an as needed basis.

Clusters of space are formed around the building. Each cluster contains a number of different program types.

Both program and vegetation can be inserted into the main structure of the building. No space is wasted, because if it isn’t filled with program, an opportunity for a vertical garden is created.

The first performance space in the building is the most important one and remains as an anchor for the rest of the building. This part of the building can be expanded outward, should a larger performance space be needed in the future.

68 p59

Eddy Gafney BAC C1 Studio Summer 2011: Bluegrass Urbanism

Research and Development [25 points]

16 Relevant Conceptual Production [25 Points]

14 Formal Initiative [25 Points]

15 Communication [25 points]

16

Strong command + awareness A [21-25 points]

Moderate command + awareness B [16 -20 points]

Developing command + awareness C [11-15 points]

Poor command + awareness D [0-10 points]

The student’s rigorous analysis fosters animated discussion and debate in class and the opportunity for the student to develop ‘a stance’ on issues within the design problem.

Student’s analysis is generous and leads to complex discussions in class. The student leaves the analysis unrefined and potentially interesting concepts unexplored.

Student completes a set of general analyzes but does not interpret the information collected. Analysis fosters generic discussion of concept but it never moves beyond a general level because the student’s analysis requires more inquiry, rigor, or organization.

The student shows a lack of understanding of valid analysis as a generator for concept. He/She offers no analysis that can serve as the foundation for concept, or does not use this process to generate conceptual ideas. The insufficient investigation leaves little possibility for discussion or developing a valid stance that can be proven through their investigations.

The student explores a wealth of ideas that are relevant contextually and derived from studio led analysis. Explorations also draw upon other disciplines beyond architecture. These ideas are evaluated and form unexpected rules, arguments and concepts. The well-considered concept allows the viewer and the class to see the project in a new and unusual way.

The student develops a clear and interesting concept based on a series of logical investigations. There is some initiative to take risks, but relevant investigation is largely instructor led. A stance is taken on the problem, which is evident in several design moves.

The student sticks to a single idea based on Incomplete or ill analysis.

The concept is tangible but has many weak points and does not induce all major design decisions.

The student conveys little or no conceptual clarity. Ideas appear without foundations in analysis or evidence of origin. Disparate ideas come and go with little relevance to the problem. There is no evidence of a stance or opinion nor defining rules to help guide the exploration.

The student takes the initiative to engage in well-crafted, expressive investigations.

These occur at multiple scales that communicate difficult ideas using the medium that expresses them most clearly and interestingly The student exhibits a strong command of all conventions, giving them freedom to takes risks in material and medium to develop and communicate ideas.

The student’s investigations clearly communicate and are visually interesting. There are some risks or unique attempts to represent ideas. The student exhibits a moderate command of conventions in media and medium, allowing them to take some risks and develop unique means of representation in some areas of production.

The student meets basic investigative requirements, but is still developing conventional modeling and drawing tools.

Investigations are functional but lack ability to communicate completely on their own and are not expressive or inventive. Most work operates as a tool for study as opposed to representation.

The student does not meet basic studio requirements in media or medium control.

Work is shoddily or incorrectly crafted and has little relevance to concept. Drawings and models are made without clear intentions and only as a means of representation as opposed to a tool for exploration.

The student presents a full range of artifacts [including exploded axons, defining sections and generative diagrams] that have a foundation in earlier analysis, clearly communicate a concept and its evolution, and are the fruits of tested medium and media.

The student presents a solid body of relevant work. The project is organized and its evolution is legible, but lacks in excitement or creative expression. More verbal description is required and drawings require study to be recognized as reinforcing one another.

The student presents a relatively clear concept that is difficult to trace back to its inception. Process is visible only with verbal description. There is very limited consideration towards layout or graphic consistency on the wall and requires intense questioning to understand.

Students work shows no evidence of process or conceptual development. Small amount of relevant work that struggles to communicate. Artifacts are dirty, broken or otherwise un-cared for.

61: B-

Dan Weissman | Teaching Portfolio

A: 80-100 B: 60-80 C: 40-60 D:20-40

Bluegrass Urbanism Studio

Hayley Bouza BAC C1 Studio Summer 2011: Bluegrass Urbanism

Research and Development [25 points]

25 Relevant Conceptual Production [25 Points]

25 Formal Initiative [25 Points]

22 Communication [25 points]

20 94: A

Strong command + awareness A [21-25 points]

Moderate command + awareness B [16-20 points]

Developing command + awareness C [11-15 points]

Poor command + awareness D [0-10 points]

The student’s rigorous analysis fosters animated discussion and debate in class and the opportunity for the student to develop ‘a stance’ on issues within the design problem.

Student’s analysis is generous and leads to complex discussions in class. The student leaves the analysis unrefined and potentially interesting concepts unexplored.

Student completes a set of general analyzes but does not interpret the information collected. Analysis fosters generic discussion of concept but it never moves beyond a general level because the student’s analysis requires more inquiry, rigor, or organization.

The student shows a lack of understanding of valid analysis as a generator for concept. He/She offers no analysis that can serve as the foundation for concept, or does not use this process to generate conceptual ideas. The insufficient investigation leaves little possibility for discussion or developing a valid stance that can be proven through their investigations.

The student explores a wealth of ideas that are relevant contextually and derived from studio led analysis. Explorations also draw upon other disciplines beyond architecture. These ideas are evaluated and form unexpected rules, arguments and concepts. The well-considered concept allows the viewer and the class to see the project in a new and unusual way.

The student develops a clear and interesting concept based on a series of logical investigations. There is some initiative to take risks, but relevant investigation is largely instructor led. A stance is taken on the problem, which is evident in several design moves.

The student sticks to a single idea based on Incomplete or ill analysis.

The concept is tangible but has many weak points and does not induce all major design decisions.

The student conveys little or no conceptual clarity. Ideas appear without foundations in analysis or evidence of origin. Disparate ideas come and go with little relevance to the problem. There is no evidence of a stance or opinion nor defining rules to help guide the exploration.

The student takes the initiative to engage in well-crafted, expressive investigations.

These occur at multiple scales that communicate difficult ideas using the medium that expresses them most clearly and interestingly The student exhibits a strong command of all conventions, giving them freedom to takes risks in material and medium to develop and communicate ideas.

The student’s investigations clearly communicate and are visually interesting. There are some risks or unique attempts to represent ideas. The student exhibits a moderate command of conventions in media and medium, allowing them to take some risks and develop unique means of representation in some areas of production.

The student meets basic investigative requirements, but is still developing conventional modeling and drawing tools.

Investigations are functional but lack ability to communicate completely on their own and are not expressive or inventive. Most work operates as a tool for study as opposed to representation.

The student does not meet basic studio requirements in media or medium control.

Work is shoddily or incorrectly crafted and has little relevance to concept. Drawings and models are made without clear intentions and only as a means of representation as opposed to a tool for exploration.

The student presents a full range of artifacts [including exploded axons, defining sections and generative diagrams] that have a foundation in earlier analysis, clearly communicate a concept and its evolution, and are the fruits of tested medium and media.

The student presents a solid body of relevant work. The project is organized and its evolution is legible, but lacks in excitement or creative expression. More verbal description is required and drawings require study to be recognized as reinforcing one another.

The student presents a relatively clear concept that is difficult to trace back to its inception. Process is visible only with verbal description. There is very limited consideration towards layout or graphic consistency on the wall and requires intense questioning to understand.

Students work shows no evidence of process or conceptual development. Small amount of relevant work that struggles to communicate. Artifacts are dirty, broken or otherwise un-cared for.

A: 80-100 B: 60-80 C: 40-60 D:20-40

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Dan Weissman | Teaching Portfolio

Bluegrass Urbanism Studio

Full Evaluation Report available upon request p63

Foreword

gogy of modern design has schools, the classic Bauhaus peda Although not inherently For most American Architecture gn. new trend, that of sustainable desi given way in recent years to a the aspect of sustainability ng addi e, spac of gn desi the eptualize changing the way architects conc base; to develop an approach ols to take on a more technical to the design curricula forces scho the building profession. As of ties retical design with the reali that bridges conceptual and theo more pervasive, Lighting gent and advanced technologies energy codes become more strin ting Design is not merely Ligh , ever How . ssion ral part of the profe s. We seek to teach Designers have become an integ code gy ener ting ing to a space and mee t for exploration and fitting the correct fixture and lamp outle an as aspect of architectural design, lighting as a completely integrated gn. desi ainable creativity through the criteria of sust

Abstract

Design Certificate program in [BAC] already has a Sustainable The Boston Architectural College ent for all degree program irem requ a [CE] students, as well as place for Continuing Education of electives that fall within the students to take a certain number Architecture and Design Studies springboard for launching the a as ram prog this We seek to use Sustainable courses category. gn Workshops model, we Desi ing exist olâ&#x20AC;&#x2122;s Using the scho workshops to introduce Lighting Design education program. gn desi that integrates lectures with intend to create a course sequence new courses: First, an three ose prop fore there We epts. advanced lighting design conc of lighting design. Then, two course will cover the fundamentals introductory lecture-based lighting y, one focusing on green stud nced courses will follow for adva ior Design students that additional studio-based design Inter r focusing on daylighting design. electric lighting design and the othe may skip the introductory se cour gn Desi ting Ligh 365 ing TM365/7 have already completed the exist after TM365/7365. two advanced courses in sequence course, allowing them to take the program, and will create d, the BAC plans to evaluate the Upon completion of the Grant perio in Lighting Design and a r mino a into e nd the program to segu students with the title additional course material to expa rding awa lly, the BAC will work towards Certificate in Lighting Design. Fina . exam ions ificat qual NCQLP Intern LC upon completion of the

2 February 2007

Dan Weissman | Teaching Portfolio

BAC Nuckolls Fund Grant Proposal

3

Light|Space Workshop

Light|Space Nuckolls Grant + Daylighting Workshop Spring 2008 Co-taught with Matt Latchford understanding goals

+ analysis as a tool for developing concept and furthering the iterative design process. + Analyze light to better understand feelings and design ideas, to ultimately design comfortable, well illuminated day-lit architectural spaces. + Investigate daylight as a design tool in a group setting, using hands-on exercises and collaboration to promote learning

In 2007 I was awarded the $20,000 Nuckolls Grant through the Boston Architectural College to develop new lighting coursework for architecture students.

The resulting seminar gave students a greater intuitive understanding of lighting metrics and daylight through extensive model building and testing. The course also fostered collaborative learning through group model-testing, as well as developing studentâ&#x20AC;&#x2122;s design skills.

The course was published in the Nov/Dec issue of Architectural Lighting: http:// www.archlighting.com/industry-news.asp?articleID=816059&sectionID=1306 Student work presented here by BAC M.Arch Students in the Spring 2008 term: Sara Addieg, Hiromi Moran and Eileen Sullivan.

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CE105-E/TM470: Light | Space Integrated Sustainable Lighting Design Workshop Nuckolls Grant for Lighting Education Dan Weissman | Matt Latchford Spring 2008 | Thursdays 7:15-10:15 [Statement] This workshop seeks to develop student's conceptions of how we perceive and experience the world around us, as a basis for creating sustainable lighting designs through integration of natural and electric lighting into architectural space.

[Possible Understanding Goals] Students will come to understand_ 1. How to analyze and diagram light to better understand their own feelings and design ideas.

2. How to modify and augment daylight to create comfortable, well illuminated day-lit spaces.

3. How to make generalized fixture selections based on lamp type and wattage, light distribution and performance.

4. The advantages and limitations of digitally modeling light 5. The importance of finishes in perception of architectural spaces 6. How to see.

[Process] Through exploratory design studies and visualizations, students will understand how to document their ideas of light and its relationship to architectural space. Investigations in current and cutting edge technologies will familiarize students with the tools of lighting design, while the construction of scale models for daylight-testing, physical electric lighting mock-ups and digital modeling and analysis will provide a hands-on approach to designing light. As a framework for their studies, students will draw upon a prior [pre-approved] studio project to develop throughout the semester, culminating in a complete natural and electric lighting scheme for the project. Students without a sufficient project to work from will be provided with a base project to work from. An existing digital model of the prior studio project is encouraged, but not necessary.

The creation of built architecture is by its nature a collaborative affair. Architects often work with lighting consultants to aid in the design of electric and daylit spaces. Although we will eventually be focusing on your individual projects, this workshop seeks to promote collaboration in as many facets of the design and learning process as possible. We will be lecturing some, but we will also ask you to research and present ideas to each other, and to discuss the concepts in a collegial manner in class. Inflammatory or personal remarks will not be tolerated.

[Prerequisites] Students are required to be in Segment 2, and have completed either TM369 Lighting + Acoustics or TM365 Lighting Design, and will be expected to draw upon their base knowledge of lamp types, luminaries and the metrics associated with lighting. These topics will be reviewed within the workshop setting, and expanded on. It is also highly encouraged to have completed Architectural Graphics.

[Contact Info] Dan Weissman Matt Latchford

dan@lampartners.com, daweissman@gmail.com c.314-368-9994 matt@lampartners.com

We may be using Google-space for posting of assignments, TBD in class. Plan to submit digital and hard copies of all assignments.

Note: It is an unfortunate irony that this is a daylighting course being taught at night. Due to that, we will be holding a minimum of 2 class sessions at our office â&#x20AC;&#x201C; Lam Partners, to test daylight models. However, if interest exists, meeting on weekend afternoons as a supplement to Thursday sessions is possible. See class schedule for dates.

Dan Weissman | Teaching Portfolio

Light|Space Workshop

CE105-E: Light Space

Syllabus [08.01.24]

BAC + Nuckolls Grant for Lighting Education

Pre-requisites:

Dan Weissman + Matt Latchford Date

AD: TM369 | ID: TM365 | BDS: Either

Class

Assignment

Reading

Undestanding Goals

1 Intro

Intro - syllabus, expectations, grading [rubric] Perception Lecture + discussion Sketch Problem Explain Metrics Investigation

-Metrics investigation -Case study: Written objectives + Diagram lighting -bring prior studio project for review

Sunlighting as Formgiver for Architecture [SLFA] Chapters 1-3

Form opinions on objectives of space, practice diagraming + graphics Basis of Metrics

TH Jan 31 Metrics [objective vs subjective 2 design]

Review metrics investigation, discuss confusing issues Pin-up objectives + diagrams Review prior studio projects

Cycle 2 diagrams Each student research one electric lighting technology + associated fixtures.

Guest Lecture: Keith Yancey - AIA presentation Sun calculator exersize philisophical notions of integrating electric with daylight Introduce physical modeling

Begin physical model for daylight testing - one typical section/ bay of case study + typical solutions (louvers, light shelves, skylights, monitors, heliostats, etc) SLFA: Chapters 6-8

how to measure and quantify daylight

4 Daylight

review model work Desk-crits/ discussion of SLFA

Finish daylighting model Solar Diagrams + sketches - [900,1200, 1500] x [321, 621,1221]

Basis of electric lighting how to qualify daylight strategies

SA Feb 16 or 23 Materials + Heliodon 5 testing

Model testing at LPI on Saturday Surface properties: reflection: Lambertian, specular, transparency Tour?

Begin Design modification to case study.

Research daylight apertures and augmentation systems [louvers, skylights/ clearstories, light pipe + equals, heliostat] TBD

material properties, heliodon

Presentation of systems Desk Crits

Modification design studies + compile documentaion of case study work Bring studio project TBD

daylight modifiers

TH Jan 24

TH Feb 7

3 Daylectric

SLFA: Chapters 4-5 basic understanding of lighting metrics.

TH Feb 14 Student presentations of lamps + fixtures

TBD

TH Feb 28

6 Systems TH March 6

7 Review

Review of case study - all diagrams, arch. dwgs as Diagram existing lighting (probably only daylight at relevant, model and modification dwgs etc this point), write how you want spaces to feel Intro final project - quick prestentation of each [poems?] student's project to familiarize class

TBD

Typical solutions for integrated design.

Diagram 2 ways to modify siting to maximize daylight potential. Use previous model for light studies with flashlight

TBD

outside

Review site diagrams [pin-up] Move inside. re-visit objectives.

Diurnal diagrams for 3 people at 3 times.

Written ojectives in outline form for each space.

Specifics of electric lighting in addition to daylight.

First RCP + Sectional daylectric lighting diagrams

TBD

inside

desk-crits or pin-up Review of typical electric lighting solutions

Begin daylighting model

TBD

outside

Lecture: integrated electric lighting controls with daylight

Finish daylighting model for testing

TBD

inside

Heliodon testing [at LPI on saturday]

Document new knowledge from heliodon testing Diagram electric lighting and controls

TBD

outside

Digital modeling demonstration Desk-crits

Finalize design: siting, daylighting strategies + architectural modifications, electric scheme, surface finishes TBD

Desk-crits - cartoon presentation

Presentation drawings prep

Final review

Students will understand the design development process, applying principles of daylighting and electric lighting integration to their designs.

-how to work simultainiously between different "dimensions" or variables: 7+ essentials

TH March 13

Objectives + 8 Site

Review objectives and diagrams [pin-up] Discuss siting and orientation

SPRING BREAK

TH March 27

Objectives/ 9 time TH April 3

# skin TH April 10

# Controls SA April 19

Physical # Model TH April 24

Digital # Modeling!

inside

TH May 1

# Desk Crits TH May 8

# Final Review

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Course Text

Sun penetration Studies: Ramona Saldomando

Dan Weissman | Teaching Portfolio

h

aylight? lculator

: Electric light

esigns

sed on review

pment meeting st impressions

sessment

analysis Modification

ment el

iew

Execution

1 2 3 4 5

Process towards understanding Awareness Trial Application

k Paper

Course timeline Scale of Student Interaction

ction

Light|Space Workshop

Lecture: Perception Sketch Problem: Black Paper Metrics Investigation Review Metrics Case Study Analysis Electric Light Research Black Paper Guest Lecture: Why Daylight?

Introduction to Sun Calculator Student Presentations: Electric light Discuss Readings Model and Modifyer designs Model Testing Reflection + Modification

6

Modifier Designs Model re-test

7

Case-Study Review Revise Case Study based on review

8

Design [Light] Development Project-switch + client meeting Cycle 1: Analysis + first impressions Analysis Progress Return Case Study Assessment

9 10 11

Analysis Pin-up Switch-back + review analysis Cycle 2: Reflection + Modification Modification development Cycle 3: Physical Model

12

Model Testing Reflection + Modification

13

Lecture: Digital Modeling Model re-test

14

Cycle 4: Execution Concepts Quiz + Discussion Presentation Final Review

15

Awareness Technical Concepts

Trial

Case Study Analysis

Reiteration Design [Light] Development

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awareness Scale of Student Interaction

Awareness of new topics in this course is in the form of readings, lectures or individual exercises, creating a weak relationship between student awareness and student interaction.

How can awareness occur in a group setting?

Process towards understanding Awareness Trial Application

How can student interaction facilitate increased awareness of unfamiliar topics, considering different studentâ&#x20AC;&#x2122;s learning styles?

1 2 3 4 5

Lecture: Perception Sketch Problem: Black Paper Metrics Investigation Review Metrics Case Study Analysis Electric Light Research Black Paper Guest Lecture: Why Daylight?

Introduction to Sun Calculator Student Presentations: Electric light Discuss Readings Model and Modifier designs Model Testing Reflection + Modification

6

Modifier Designs Model re-test

7

Case-Study Review Revise Case Study based on review

8

Design [Light] Development Project-switch + client meeting Cycle 1: Analysis + first impressions Analysis Progress Return Case Study Assessment

9 10 11

Analysis Pin-up Switch-back + review analysis Cycle 2: Reflection + Modification Modification development Cycle 3: Physical Model

12

Model Testing Reflection + Modification

13

Lecture: Digital Modeling Model re-test

14

Cycle 4: Execution Presentation

15

Final Review Concepts Quiz

Dan Weissman | Teaching Portfolio

Light|Space Workshop

DRAWING LIGHT

Drawing light on black paper helps students beome acutely aware of how light effects every surface of a room.

By drawing in class before drawing at home, students are able to compare their intuition with reality. Students also interact with each other, possibly gaining insight into drawing techniques.

The exercise allows me to interact with students on an individual basis in the first class, and assess studentsâ&#x20AC;&#x2122; abilities in representation.

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performance of understanding: Student Sample

Dan Weissman | Teaching Portfolio

Light|Space Workshop

tool: sun calculator Students are asked to diagram architectural spaces using the sun calculator to determine accurate sun angles and create shading masks.

This exercise serves as the basis for the rest of the semester’s coursework of analysis.

“Learning to use the sun calculator has been increadibly useful. I’ve seen them before and have always been fascinated by them.”

-Hiromi Moran

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Scale of Student Interaction

Awareness Trial Application

Process towards understanding

trial 1 2 3 4 5

Lecture: Perception Sketch Problem: Black Paper Metrics Investigation Review Metrics Case Study Analysis Electric Light Research Black Paper Guest Lecture: Why Daylight?

Introduction to Sun Calculator Student Presentations: Electric light Discuss Readings Modifier design Model Testing Reflection + Modification

6

Modifier Design Model re-test

7

Case-Study Review Revise Case Study based on review

8

Design [Light] Development Project-switch + client meeting Cycle 1: Analysis + first impressions Analysis Progress Return Case Study Assessment

9 10 11

At bottom, Hiromi has correctly shown sun penetration angles, but by drawing multiple bounces, she mis-represents the distribution of sunlight into the space, which will be lambertian in real life (omni-directional distribution).

Analysis Pin-up Switch-back + review analysis Cycle 2: Reflection + Modification Modification development Cycle 3: Physical Model

12

Model Testing Reflection + Modification

13

Lecture: Digital Modeling Model re-test

14

Cycle 4: Execution Concepts Quiz Presentation Final Review

15

Through initial analytical trials, issues arise between technical accuracy and representation, as representational techniques inherently display a level of student understanding of techincal concepts.

Critique of Eileenâ&#x20AC;&#x2122;s work by Hiromi Dan Weissman | Teaching Portfolio

Light|Space Workshop

case study analysis Project Learning Goals Conceptual Understand the architectâ&#x20AC;&#x2122;s vision for natural light through analytic investigation Technical Understand how to use a Sun and Profile Angle Calculator Understand typical solutions for controlling natural light.

Representational Understand how to document lighting in a graphically understandable and delightful way group learning To promote interaction, students periodically assess each othersâ&#x20AC;&#x2122;s work, providing feedback through written comments.

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2d analysis

Student work: Hiromi Moran

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3D analysis

Light|Space Workshop

Physical Model Testing promotes_ + Learning through doing + Student interaction

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Scale of Student Interaction

Awareness Trial Application

Process towards understanding

reiteration 1 2 3 4 5

Lecture: Perception Sketch Problem: Black Paper Metrics Investigation Review Metrics Case Study Analysis Electric Light Research Black Paper Guest Lecture: Why Daylight?

Introduction to Sun Calculator Student Presentations: Electric light Discuss Readings Modifier designs Model Testing Reflection + Modification

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Modifier Designs Model re-test

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Case-Study Review Revise Case Study based on review

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Design [Light] Development Project-switch + client meeting Cycle 1: Analysis + first impressions Analysis Progress Return Case Study Assessment

9 10 11

Analysis Pin-up Switch-back + review analysis Cycle 2: Reflection + Modification Modification development Cycle 3: Physical Model

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Model Testing Reflection + Modification

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Lecture: Digital Modeling Model re-test

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Cycle 4: Execution Concepts Quiz Presentation Final Review

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Light|Space Workshop

Design [light] development Students choose a former studio project to develop using the skills learned through the case study project.

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Light|Space Workshop

â&#x20AC;&#x153;architectural studio seems to always be about conceptual realization. this course has taught me that daylight can be an architectural solution in itself.â&#x20AC;?

-Sea addieg

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assessment for case study work

Dan Weissman | Teaching Portfolio

Light|Space Workshop

Assessment Hiromi: You have an innate sense of design that has shown through your sensibilities towards lighting design, integration with architecture, and your representation of your ideas. It is clear that you have a very strong handle on how to create wonderful, integrated architectural designs using the tools learned through this course. With that said, I challenge you in your remaining time in school to push your designs, to explore seemingly less comfortable ideas. In short, I’d like to see you take more risk in your design work. Your work for the case study was well thought-out, using rigorous analysis (except for the one modifier that still let light in, but I’m confident you learned from that experience). For the final project, you came in with a very elegant design, so it seemed to make the job of re-design that much more difficult.

Your final design, although very reasonable, and with some very nice moments, still suffered from your conservative design notions, as we discussed in your review. In the long run, you were a pleasure to have in class, and your intuitions will serve you well in the future. Best of luck in thesis!

Sea: Sea, you were a pleasure to have in class this semester. Your willingness to learn and explore was very reassuring to a young inexperienced teacher. It was so interesting to see your development of the community center through lighting analysis. It seems that you never fully felt comfortable with the analytical side of daylighting design, but it was clear that you have developed intuitions that will serve you well in the future! Your final design may have had multiple design strategies, which in a regular studio may have been seen as “lack of clear concept” - but I’m glad to see that you attempted and tested a myriad of options, instead of arbitrarily choosing one method of daylight integration. Additionally, it was great to see you begin to develop the architecture, beginning to get a handle on your program, structure, and materials (all those other architectural parts…). So, if you plan to continue to develop this project (which I hope you do), this process is far from over.

Your next step will be to re-define your objectives (or at least reiterate them), so as to hone the design moves and cull the things that aren’t working. If you do continue to work on this project for inclusion in your portfolio, I’d be interested in seeing how you continue to develop it. Best of luck in segment 2 and thesis!

Eileen: It seemed that you were distracted through the case study project, but it was a pleasure seeing your work and process throughout the second half of the semester.

You effectively applied the principles that we discussed to your project – with sensibilities towards integrated lighting details incorporating your ideas of both electric and daylight modification. Your design for Sea’s project provides a point for reflection, for as we discussed, you effectively began to modify the architecture, but without the analytical base to back up your ideas. As you continue to use light as a design tool, remember that the process of analysis is there to inform and strengthen your design not only aesthetically, but also from the vantage point of energy useas rigorous analysis proceeding to and during the design process will make for a higher-performance building in the long run. But enough soap-box talk – thanks for your devoted work this semester, and best of luck in the future!

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Light|Space Workshop

Other Courses Taught

B1 Architecture Studio Boston Architectural College, Fall 2006 Co-instructor with Kyle Sturgeon. We guided students documenting case study houses and in designing a boathouse.

Course administrated by Josh Safdie.

TM365 Lighting Design Boston Architectural College, Spring 2007 Assistant Instructor with Keith Yancey. We taught the process, technology and design of electric and daylighting to Interior Design Students.

Thesis Advisor Boston Architectural College, 2007-2008 Advised 3 Masters of Interior Design students to develop electric and daylighting schemes for their thesis projects.

Teaching assistant

DISASTER FIELD LAB Harvard University Graduate School of Design, Spring 2012 Christian Werthmann, Associate Professor of Landscape Architecture.

Seminar uses post-earthquake Haiti as a case for producing design intervention across a range of scales and time frames.

Daylighting Architecture Harvard University Graduate School of Design, Spring 2011 Christoph Reinhart, Associate Professor of Building Technology.

I assisted in research studies, lead electric lighting and physical daylight modeling modules.

Poseidon’s Temples Option Studio, Harvard University Graduate School of Design, Fall 2010 Grace La & James Dallman, Visiting Professors of Practice.

I worked with students to develop individual projects, and assisted in course administration.

Generative Computing Seminar, University of Michigan Taubman College, Fall 2009

Glenn Wilcox, Associate Professor of Architecture

I updated course website with student work, instructed basic Grasshopper module, assisted students with projects.

­­212 Architecture Studio Washington University in St. Louis, Spring 2005 Patty Hayda, Gay Lorborbaum and Bill Wischmeyer, Professors of Architecture.

I assisted in instructing the Sophomore level studio. Emphasis placed on development of site and

integration of simple program.

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President Bill Clinton with a copy of Designing Process vol1, June 2011.

Dan Weissman | Teaching Portfolio

Publications

publications Designing process Werthmann, Christian, et al; DESIn du processus | Designing Process: Exemplar Community Development Project, Volume 3; Published independently on Lulu and Issuu, 2012

Daylit Area Reinhart, Christoph F. and Weissman, Daniel A; The daylit area: Correlating Architectural Student Assessments With Current And Emerging Daylight Availability Metrics, Building and Environment, v50, p155-164, 2011

Design With Climate Weissman, Dan and Omidfar, Azadeh; DESIGN WITH CLIMATE: The role of digital tools in computational analysis of site-specific architecture; in Hanif Kara and Andreas Georgoulias, Interdisciplinary Design, New York: Actar, 2012

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The earthquake of January 12, 2010 turned the already critical shortage of housing in Haiti into a brutal crisis. A year and a half later, 80% of the rubble has yet to be cleared, and an estimated 680,000 residents still live in tent camps. Because of this precarious situation, political leaders are pushing hard for housing solutions, which has created three potentially drastic situations: first, building houses first without consideration for ecological forces of soil and water systems on a site puts any new community in danger; second, without understanding long-term infrastructural requirements, new communities will find themselves without basic provisions; and third, without building livelihoods, job opportunities, and job training, new communities will foster social unrest.

It is clear that sustainable long-term urbanization of the Port-au-Prince region cannot be created through the construction of houses alone.

In January 2011, a multidisciplinary team of designers and planners led by Christian Werthmann, Associate Professor of Landscape Architecture at Harvard Graduate School of Design, and Phil Thompson, Professor of Urban Politics and Planning at MIT School of Architecture and Planning, were charged by Deutsche Bank and the Clinton Foundation with the development of a small 125 unit Exemplar community at the outskirts of Port au Prince, in the small suburb of Zoranje. The goal: to create a replicable model and process for resettling earthquake refugees. In the face of 680,000 homes needed for earthquake refugees across the region, the research team substantially increased their scope and scale of study, successfully proposing to their funders that, in order to achieve successful, sustainable, community development, a series of core principles must be enacted before the construction of houses: First and foremost, to yield long-term sustainable urbanization, the process of reconstruction must be designed for replicability within Haitian capabilities. In order to achieve that, sites in the periphery such as Zorange must be connected to the larger formal and informal urbanization processes and material flows of Port-au-Prince. At the same time, such communities should foster and sustainably harness the natural systems of their sites for food, water, and energy to maintain a level of autonomy from centralized infrastructures.

Additionally, by weaving social engineering and job creation with physical design, these sites will build community. By pursuing these principles, new communities will thrive with significantly increased resilience to future disasters.

Based on these principles, it became clear that performing design research only on a scale of 125 units was inadequate. The research team therefore identified four scales for its strategic framework: the scale of Port-au-Prince, the scale of 70 hectares around Zoranje, the scale of the town Zoranje, and the scale of a neighborhood in Zoranje. Then a phasing process was designed that mediated between scales through both physical design and social planning. In particular, the team identified principles of sustainable water management, reforestation, and regenerative building materials, construction training and incremental housing as immediately achievable goals within the process.

In June 2011, a core team consisting of GSD Professor Christian Werthmann, MIT Professors’ Phil Thompson and Lawrence Sass, GSD MDesS Candidate Dan Weissman, and MIT MCP graduate Anya Brickman Raredon traveled to Port-au-Prince to present this holistic vision to both Haitian President Michel Martelly and former President Bill Clinton. The team also met with stakeholders, government officials from both Haiti and the US, and the Exemplar Executive Committee to discuss next steps.

Clearly, many Haitians are in dire need of adequate shelter in short order. However, long term sustainable community building requires careful design, planning and ongoing engagement. The GSD+MIT proposal seeks to facilitate the balance between these two seemingly conflicting necessities, fostering the creation of jobs, infrastructures, and social services in concert with home building in a process that may ultimately be employed across the Port-au-Prince region, and all of Haiti.

This report is the research teams’ ongoing attempt at structuring thoughts on the extremely complex topic of rebuilding livelihoods around Port-au-Prince. It may also serve as a case study for other similar conditions across the world. For more information or to provide feedback on the report, please contact DesigningProcessinHaiti@gsd.harvard.edu Weissman, Dan “Designing Process: Creating long-term replicable community building solutions in Port-au-Prince, Haiti” Harvard University Graduate School of Design News, July 5, 2011 http://www.gsd.harvard.edu/news/gsd_stories/haiti.html

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URBANIZATION ZONES AGRICULTURAL ZONES MANGROVE REFORESTATION NO-BUILD ZONES DRANAGE AND RETENTION SYSTEM

Publications

DESIGNING PROCESS ‘HARMIT’ TEAM: GSD social agency lab + mit Sa+p Christian Werthmann

Associate Professor of Landscape Architecture Harvard Graduate School of Design Phillip Thompson Associate Professor of Urban Politics and Planning Massachusetts Institute of Technology Anya Brickman-Raredon Master of City Planning, 2011 Massachusetts Institute of Technology Dan Weissman Master of Design Studies, 2012 Harvard Graduate School of Design

Weaving + Wiring

Erdem Ergin Master of Design Studies, 2013 Harvard Graduate School of Design

Consider the larger context Protection and utilization of natural capital 500,000 homes needed vs 125 proposed

Replicability

Self-replicating Definition of process Documentation and planning for “Hand-Off”

Building Community Incremental approaches to: Infrastructure, Public spaces and Participation

Neighborhood Resilience Self-sufficiency Disaster preparedness

Empowerment through Employment Vocational training Housing + infrastructure construction as employment Farming and regenerative building materials Management of infrastructures and community processes

find the full text online: http://issuu.com/gsdmit/docs/designingprocess

0

0.5

1

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Publications

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Building and Environment 50 (2012) 155e164

Contents lists available at SciVerse ScienceDirect

Building and Environment journal homepage: www.elsevier.com/locate/buildenv

The daylit area e Correlating architectural student assessments with current and emerging daylight availability metrics Christoph F. Reinhart*, Daniel A. Weissman Harvard University, Graduate School of Design, Cambridge, MA 02138, USA

a r t i c l e i n f o

a b s t r a c t

Article history: Received 2 September 2011 Received in revised form 26 October 2011 Accepted 29 October 2011

This paper proposes a method for testing current and emerging daylight availability metrics such as daylighting factor, daylight autonomy, useful daylight illuminance and LEED 3.0 requirements against building occupant assessments of a daylit space. During spring 2011 the method was tested as a classroom exercise by 60 architectural students enrolled in two graduate-level building science courses in the 2nd floor studio space of le Corbusier’s Carpenter Center in Cambridge, MA, USA. The results from this test yielded that the Lighting Measurement protocol for Spatial Daylight Autonomy, that is current being developed by the Illuminating Engineering Society of North America (IESNA) daylighting metrics committee, reproduced the student assessments of the daylit area in the space more reliably than the other tested daylight availability metrics. These findings are preliminary and still need to be validated and refined in other spaces. Apart from providing valuable data points for scientific experiments, the method also has substantial educational value as a teaching exercise for architectural students to develop an intuitive understanding of contemporary daylight performance metrics, as well as a feeling of how their personal lighting preferences compare to these metrics.

2011 Elsevier Ltd. All rights reserved.

Keywords: Daylighting metrics Occupant evaluations LEED Daylight simulations Daysim Radiance

1. Introduction What is daylighting, why are we pursuing it, and what is a well daylit space? The answers to these questions are complex and subjective. A rather unambiguous response to the first question is that daylighting describes the controlled use of natural light in and around buildings. Several drivers exist for why one might want to implement daylighting. A starting point for most explorations on daylight is that there must be a certain, program-specific amount of daylight available within a space for the space to be called daylit (daylight availability or sufficiency1). To balance occupant comfort and energy concerns, this amount should neither be too low nor excessive. Another frequently voiced requirement is the ability of building occupants to adapt the (day)light in a space to their programmatic needs. In classrooms and office-type environments e where occupants do not typically have the freedom to adjust their position, and have rather stringent visual comfort requirements e occupants usually have access to movable shading controls

* Corresponding author.

E-mail address: reinhart@gsd.harvard.edu (C.F. Reinhart).

1 The first author previously used the term daylight availability to describe “how much daylight is available in a space over the course of a year” whereas the IESNA Daylighting Metrics committee has started to use daylight sufficiency to name the same concept. In the following, both terms are considered interchangeable.

0360-1323/$ e see front matter 2011 Elsevier Ltd. All rights reserved. doi:10.1016/j.buildenv.2011.10.024

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to adapt the indoor environment to their needs. In public spaces, such as atria, occupants can adapt by moving around the space. The combination of daylight availability, occupant comfort and energy efficiency leads to a more specific definition of daylighting: A daylit space is primarily lit with natural light and combines high occupant satisfaction with the visual and thermal environment with low overall energy use for lighting, heating and cooling [1]. The three categories are linked. For example, when blinds are lowered to avoid discomfort glare, the interior daylight availability is reduced, the electric lighting may be switched on and heating or cooling loads my change accordingly.

Thinking of daylighting in terms of three linked but separate design objectives (appropriate light levels, occupant comfort and building energy use) can help designers to work on one objective at a time. In order to do so, metrics are required to reliably evaluate the design intent of each category. The objective of this paper is to test the first category, i.e. how contemporary daylight availability metrics compare with occupant evaluations of a daylit space.

2. Review of daylight availability metrics A variety of daylight availability metrics based on rules of thumb and computer simulations have been proposed in the past. The most common rule of thumb used to rate daylight availability in

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Fig. 1. (a) Outside view looking South of the 2nd floor studio space of the Carpenter center. (b) Inside view looking North of the 2nd floor studio space of the Carpenter center.

a sidelit space is the window-head-height rule of thumb. The rule relates the distance from floor to the head of a window to how far “adequate, useful and balanced daylight enters the spaces for most of the year” [2]. A simulation-based validation study of this rule of thumb for unobstructed facades yielded that “in a standard, officetype sidelit space equipped with venetian blinds, the depth of the daylit area usually lies between 1 and 2 times the size of the

window-head-height. For spaces such as atria or circulation areas that are not equipped with movable shading devices, the ratio range can increase up to 2.5” [2].

The most common computer-based evaluation of daylight availability to date begins by defining a grid of upward facing sensors offset from the floor (usually at desk height) followed by an evaluation of the daylight at these sensors using various criteria/ metrics. The oldest daylight availability metric is daylight factor, defined as the ratio between the illuminance at a sensor point inside the space to the illuminance at an unshaded, upward facing exterior reference point, under CIE standard overcast sky conditions [3]. Since 2001, substantial effort has gone toward the development of climate-based daylighting metrics [4e7]. Similar to daylight factor, these metrics employ a grid of sensor points, but the daylight availability evaluation is based on illuminance levels under multiple sky conditions, usually all sky conditions appearing during hours of the year when a space is occupied.

In order to be of direct use for design evaluations, daylight availability metrics are usually coupled with a benchmark, or cutoff level, above which a point in a space is defined to be “daylit”. The usefulness of benchmarks is that a space can be divided into a daylit and a nondaylit area. For example versions 2.2 and earlier of the popular LEED green building rating system from the US Green Building council, promoted a daylight, or glazing factor of 2% as a minimum benchmark level [8]. LEED Version 3.0 requires a minimum light level of 25 footcandles (269lux) on the equinox at 9 am and 3 pm und CIE clear sky conditions [9]. At the time of writing, the Daylight Metrics Committee of the Illuminating Engineering Society of North American (IESNA) was in the process of completing a new Lighting Measurement (LM) protocol that promoted a daylight autonomy (DA) type metric to characterize daylight availability/sufficiency in spaces [10]. Daylight autonomy is a climate-based metric defined as the percentage of occupied times in the year during which minimum, program-specific illuminance levels can be met by daylight alone [4].

The IESNA committee currently favors a target illuminance 300lux for offices, classrooms and library type spaces, occupied hours from 8 am to 6 pm local clock time. If applicable, venetian blinds are operated hourly to block any direct sunlight into the space. According to the IESNA LM, a point is considered to be “daylit” if the daylight autonomy exceeds 50% of the occupied times of the year. The LM is partly based on expert and building occupant surveys in 61 daylit spaces [11]. However, the surveys only addressed overall daylight levels in the test spaces, without addressing the spatial distribution of daylight within these spaces.

Fig. 2. Assignment given to the students; floor plan of the 2nd floor studio space of the Carpenter center.

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Fig. 3. Sample assignment result with cross point and cross point illuminance (38lux) and distance to façade (11.7 m).

Another climate-based metric called useful daylight illuminance (UDI) was introduced by Mardaljevic and Nabil in 2005 [5]. UDI largely resembles DA but defines lower and upper illuminance thresholds of 100lux and 2000lux for daylight to be “useful”. Due to the two levels, each point in a space has three UDI values: the percentage of the occupied time when the illuminance at the point is below 100lux, above 2000lux or in between. In a later paper Mardaljevic, Heschong and Lee further subdivided the 100e2000lux “useful” UDI bin into a “supplementary” (100e500lux) and an “autonomous” (500e2000lux) range [7]. In the simulations below, it is assumed that the daylit area corresponds to the “useful” 100e2000lux range.

The present study takes a step back from these theoretical approaches toward defining daylight availability and instead explores how architectural students, following their own intuition, divide a given sidelit space into a “daylit” and a “non-daylit” area.

As described above, traditionally, the use of upward facing illuminance measurements has served to make such a distinction. But, to the authors’ knowledge, the only documented study in which a group of individuals was asked to intuitively locate the boundary of the daylit area within real spaces is a technical paper published in 1931 [12]. In that study a jury of experts and a group of building occupants evaluated 20 rooms in the UK’s then new government building, Whitehall. The jury located the daylit area boundary at around 0.2 percent of the sky factor (around 10lux target

Fig. 4. Radiance model of the Carpenter center.

Dan Weissman | Teaching Portfolio

illuminance). While a recent analysis [13] of the composition of that jury raised concerns regarding the objectivity of these results, which indeed seem very low, the authors still find the basic study approach solid and therefore asked 60 architectural students to draw the boundary of the daylight area in a north facing sidelit space. Afterward a series of daylight availability metrics were calculated for the space and the resulting daylit area boundaries were compared to the student assessments.

Several arguments exist as to why one is actually unlikely to find good agreement between the illuminance based daylighting metrics mentioned above and occupant assessments. First, work plane illuminances, the amount of variable light falling on real or virtual surfaces, may be considerably different than what we see, namely light that is emitted off a surface toward our eyes (luminance). Second, the human eye is weak at detecting absolute illuminance levels, meaning that even if a test subject wanted to determine the “300lux boundary” within a space, he or she could not determine this line without an

Table 1 Material descriptions in radiance.

Description

Measurement description

Radiance material modifier

Interior concrete surfaces

CIBSE reflectance guide

Ceiling

CIBSE reflectance guide

Context buildings

CIBSE reflectance guide

Outside ground

CIBSE reflectance guide

Glazing (svis ¼ 82%)

Inside and outside illuminance readings taken at various locations around the building

Void plastic interior concrete 0 0 5 0.25 0.25 0.25 0 0" Void plastic generic ceiling 0 0 5 0.8 0.8 0.8 0 0" Void plastic outside facade 0 0 5 0.35 0.35 0.35 0 0" Void plastic outside ground 0 0 5 0.2 0.2 0.2 0 0" Void glass carpenter glazing 0 0 3 0.8933 0.8933 0.8933

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Table 2 Radiance simulation parameters.

Ambient bounces

Ambient division

Ambient sampling

Ambient accuracy

Ambient resolution

Direct threshold

5

1,500

100

0.05

300

0

in architectural space as well as to “calibrate” their own assessment of daylit spaces against current and emerging daylight availability metrics.

3. Methodology 3.1. Student assignments

illuminance meter. Third, given that sky conditions, and hence interior lighting levels, are constantly changing, it is unlikely that occupants can mentally average the location of the 300lux boundary over time, especially for a space in which they have not spent a lot of time. Finally, the perception of where the boundary between the daylight and the non-daylit area lies is likely to have a strong subjective element, so that different individuals will likely make very different assessments.

Despite this series of arguments why current daylight availability metrics and occupant assessments might not correspond, the authors conducted this experiment because the underlying promise of daylight availability metrics is that they do in fact predict the daylit area in spaces. Designers frequently use either of the above outlined daylight availability metrics to determine where the daylit area lies and what percentage of a space is daylit. This paper thus puts this promise to a first, direct test in a single space.

At this point it is already important to mention that e beyond a validation of the metrics e introducing students to the concept of a “daylit area” helps them to better understand the role of daylight

During spring 2011 the first author taught two semester-long graduate-level classes to architectural students, a required introductory class on Environmental Technologies in Buildings (6205) and an elective class on Daylighting Buildings (6332). Enrollments for the classes were 45 and 15 students, respectively. There was no student overlap between the two classes. Course 6205 was concerned with basic phenomena of heat flow, lighting and acoustics whereas the primary focus of Course 6332 was the study of natural and electric lighting in an architectural context. At the very beginning of 6332 and at the beginning of the lighting module in 6205 students were given the following assignment.

“A key architectural concept is to divide the floor plan of a building or space into a ‘daylit’ and a ‘non-daylit’ area. Within the daylit area indoor illuminances levels due to natural light should be adequate, useful and balanced for most of the year. In this exercise you are asked to follow your own intuition and divide the ‘taped’ area of 2nd floor Studio in the Carpenter Center into a daylit and

Fig. 5. Individual and mean daylit boundary for courses 6205 (a) and 6332 (b).

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Fig. 6. Mean boundary lines for 6205, 6332 and total mean boundary line encompassing 164 m2.

a non-daylit area. Please visit the studio on [date and time range] and individually conduct your assessment without consulting with the other students. During your visit you will be asked to carry out a series of illuminance measurements and to mark the daylit area on a floor plan of the space that you will be given.”

The Carpenter Center, which houses Harvard University’s Department of Visual and Environmental Studies (VES), was designed by Le Corbusier and completed in 1962 (Fig. 1). As the study required that the test space would have both daylit and nondaylit areas, the studio was chosen for its generous room depth of 19.5 m from the window plane to the back wall with no obstructions except for a few columns. A north facing space was chosen for the study to minimize the potential for direct sun during testing and to thus avoid having to consider venetian blinds. The ceiling

height throughout the space was 12 feet (3.66 m). During their visit, the students were given Tabloid-sized copies of the floor plan (Fig. 2) and initially asked to draw the boundary of the daylit area.

The students were then asked to measure illuminance levels at desk height along the center gridline of the space at intervals correlating to the 7 feet (2.12 m) floor grid. The grid was also provided on the plan (dashed lines in Fig. 2) to aid students in observing their location in space. Note that for consistency, this grid was also used for the digital analysis (see below). Fig. 3 shows a sample assignment result. The point at which the daylit boundary line crossed the center gridline is in the following referred to as the “cross point”. Each cross point has an associated illuminance level (based on the students’ illuminance meter readings) and distance to the North façade as shown in Fig. 3. The cross point illuminance

Fig. 7. a and b: Distribution of cross point illuminances for 6205 and 6332.

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Fig. 8. Distribution of cross point distances to the North facade for 6205 and 6332.

and distance to the façade in Fig. 3 were added later by the authors to explain the concept.

As a side note, the significance of using the Carpenter Center for this exercise is not lost on the authors, as Le Corbusier’s climatic analysis largely relied on intuition in the design and application of forms for daylight modification to create an “espace ineffable.” In the Carpenter Center, only the size of the bris soleil was calculated [14]. As this research seeks to help quantify intuition, it seems appropriate that the test would occur in a space that was also largely designed based on intuition.

Material definitions were set by assessing materials in the actual space using a CISBE Surface and Reflectance Chart [19]. Direct normal visual transmittances of the glazings were estimated through metering light levels on both sides of the glass (Table 1).

The Radiance simulations parameters used are listed in Table 2.

3.2. Simulations

15 students enrolled in GSD course 6332 completed their assignments on February 14, 2011, a mostly sunny day. On April 4, 2011, a mostly overcast day, 45 students enrolled in GSD course 6205, repeated the experiment. All participants were asked to make their recordings between 11 am and 2 pm on the given day.

Submitted assignments were then digitized and the daylit area boundaries were traced and compiled using the Adobe Creative Suite software [20]. After importing all vectors into Rhinoceros, a Grasshopper script was used to assess where all lines intersected the Carpenter floor grid [21]. Fig. 5 shows the resulting daylight boundaries. Most boundary lines have the form of an arch that is furthest away perpendicular to the center of the North facing glazing. On the other hand, a substantial degree of discrepancy exists between the exact location of the boundary lines. The size of

For the simulation-based analysis of various daylight availability metrics, a detailed digital model of the Carpenter Center and a massing model of surrounding buildings was generated in Rhinoceros [15] based on university owned floor plans and sections as well as building visits (Fig. 4). Using the DIVA for Rhino plug-in, the model was exported into the validated Radiance/Daysim daylight simulation programs [16e18]. Daylight factor, interior illuminance distributions on solstice days at 9 am and 3 pm and daylight autonomy distributions according to the IESNA RP were calculated in Radiance/Daysim for the 2nd floor studio using a grid resolution of 0.5 m. For the solstice calculations the standard clear CIE sky with a sun was used via the gensky Radiance program.

4. Results 4.1. Assignment results

Fig. 9. Comparison of the mean daylit boundary with the window-to-head-height rule of thumb.

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Fig. 10. Comparison of the mean daylit boundary with the 2% daylight factor line.

the daylit area formed by the façade and the boundary line varies between 100 m2 and 248 m2.

In order to determine the “mean daylit boundary” for all student submissions, the following procedure was employed at each vertical gridline intersection (Fig. 3): The projected distances between the North façade and each boundary line were determined. The mean daylit boundary position was then defined as the arithmetic mean of all of these distances. The resulting mean daylit boundaries for both courses are shown in bold in Fig. 5(a) and (b).

Fig. 6 shows the mean daylight boundary for both courses as well as for all samples taken together. The three lines lie surprisingly close together with daylight areas ranging from 161 m2 for 6205 to 169 m2 for 6332, resulting in an overall mean of 164 m2.

This is actually somewhat surprising given that the two student groups evaluated the space under very different sky conditions.

Figs. 7 and 8 show the distributions of the cross point illuminances and the distances to the North façade as defined in Fig. 3 for 6205 and 6332, separately. Fig. 7 shows that the illuminances for the cross points were higher for 6332 than for 6205 students due to different prevalent sky conditions for both groups. Fig. 8 reveals that the chosen distances to the North façade were more similar for both groups. The average cross point illuminance and distance to

the north façade for all students was 144lux at 9.2 m as denoted by the X in Fig. 8. The mean daylit boundary for all assignments (Fig. 6) will be used in the comparison to daylight availability metrics below.

4.2. Comparison to daylight availability metrics According to the above cited window-head-height rule of thumb for a space without venetian blinds, the daylit area extends about 2e2.5 times the window-head-height into the space. The rule was originally derived for a straight façade [2]. In order to apply it to the strongly bent North window in the Carpenter Center, the different distance lines were simply drawn as parallel offsets to the glazing. Fig. 9 accordingly compares the mean daylit boundary line form Fig. 6 with the rule of thumb predictions for various multiples from the façade. It is interesting to see that e except for the region close to the left window edge e the mean daylight boundary lies within or very close to the range predicted by the zone suggesting that the rule of thumb is consistent with the user evaluations. Near the left edge of the North glazing, the assessments and the rule of thumb show opposing trends with the mean daylight boundary

Fig. 11. Comparison of the mean daylit boundary with the 269lux lines under clear sky conditions on September 21st at 9 am and 3 pm.

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Fig. 12. Comparison of the mean daylit boundary with daylight autonomy predictions for target levels of 150lux, 300lux and 500lux. The minimum daylight autonomy level is 50%.

moving toward the façade. This suggests that the rule of thumb cannot be simply applied to curved glazings as suggested above.

Fig. 10 shows a comparison of the mean daylit boundary line with the 2% daylight factor line. There is good agreement between the two lines near the left edge of the glazing. But, near the gird centerline, the daylight factor line lines 28% closer to the façade than the mean daylit area boundary meaning that the former substantially underestimates the size of the daylit area throughout the space (122 m2 opposed to 163 m2). This result is somewhat disappointing for the daylight factor, given that the investigated space is north facing and thus barely ever subject to direct sunlight.

Fig. 11 compares the mean daylit boundary line with the 250lux lines under clear sky conditions on September 21st at 9 am and 3 pm (LEED 3.0 daylighting credit). While the 9 am LEED line marks an area that is only 7% smaller than the mean daylight area, the 3 pm area is 32% larger.

Fig. 12 shows a comparison of the mean daylit boundary with daylight autonomy predictions for target levels of 150lux, 300lux and 500lux. In accordance with the IESNA RP, the minimum daylight autonomy level is 50%. The figure shows that the currently proposed climate-based daylighting metric is in good agreement with the subjectively assessed mean daylit area. In fact, the 300lux

predicted daylit area of 152 m2 is only 7% smaller than the mean daylit area proposed by the student evaluations.

Fig. 13 shows a comparison of the mean daylit boundary with UDI predictions for a minimum target level of 50% to mark the boundary of the daylit area. The resulting UDI based daylit area of 239 m2 is 46% larger than the daylit area based on the student assessment. Apart form extending deeper into the space than other metrics, a fundamental difference is that the UDI based daylit area excludes areas right near the North window. Table 3 summarizes the results for all investigated daylight availability metrics.

5. Discussion What can the reader learn from these results? First, for the investigated space the IESNA daylight autonomy metric and the window-head-height rule of thumb both correlate well with the 60 student assessments. This result is encouraging for the IESNA Daylighting Metrics Committee. The close agreement between the rule of thumb and the daylight autonomy calculation are not surprising given that the rule was previously validated based on daylight autonomy simulations [2]. For the daylight factor, the results were substantially smaller than the assessments whereas

Fig. 13. Comparison of the mean daylit boundary with the UDI100lux-2000lux assuming a boundary level of 50%.

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C.F. Reinhart, D.A. Weissman / Building and Environment 50 (2012) 155e164 Table 3 Comparison of daylight area predictions.

Metric

Size of daylit area [m2]

Difference to student assessments [%]

Student assessments Rule of thumb: 2x Window-head-height Daylight factor Sept 21 9 am Sept 21 3 pm Daylight autonomy [300lux] Useful daylight illuminance [100luxe2000lux]

163 157

e �4%

122 151 215 152 239

�25% �7% þ32% �7% þ46%

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daylit area boundaries, even though they visited the space under sunny and overcast sky conditions as explained above. Another open question is whether architectural students are prone to make different assessments than “laymen” building occupants. The authors believe that this is probably not the case because e while architectural students might generally have more developed sensibilities toward lighting than average occupants e the concept of the daylit area is an everyday concept that is more linked to space use and personal expectation than design theory. Yet another question to be explored is whether the static 300lux target illuminance currently proposed by the IESNA Daylighting Metrics Committee for offices, classrooms and libraries needs to be adjusted according to program.

the LEED 3.0 clear sky criterion yielded very different daylit areas for 9 am and 3 pm. Given that according to LEED a space has to meet 6. Conclusion a certain daylit area for both times of day, this result is hard to interpret and may point to a certain inconsistency in how the credit Regardless of a computer algorithm’s sophistication, at the end is phrased. The daylit area according to the UDI was substantially of the day, recommended practices and digital models exist to test larger than for student assessments. conditions in reality, and provide feedback for design. It is still With a sample size of only one space, it has yet to be determined unclear how such metrics stand up to the realities and nuances of whether these results are of a more general nature. This caveat human perception. Yet, models must be correlated to how humans notwithstanding, the results for the different daylight availability perceive the world. This study proposes a simple method for such metrics show that all metrics, except for UDI, mark a daylit area that validation. Secondly, in this world of perpetuating standards and extends form the North window into the space which is in line of ever-more sophisticated and easy to use computation platforms, how building occupants think of daylight as “entering a space”. The how do novices gain the required intuitive understanding of UDI, having an upper threshold level, excludes particularly bright metrics quickly, efficiently and accurately so as to be able to areas to alert designers of potential glare or overheating problems. effectively employ digital tools? By presenting a two-step process It thus aims to be more than a daylight availability metric and of investigation and analysis, pairing participant survey data with combine availability, comfort and energy concerns in one [5]. As digital analysis, this research attempts to achieve a truly holistic explained in the introduction, the authors feel that it is advantaunderstanding of daylight availability metrics. From here, future geous for designers to break the daylighting problem up into three lines of research could both deepen the perceptual accuracy of distinct categories and check one at a time. This experiment established and emerging daylight availability metrics, as well as confirms that this also seems to be how design students (and lead to similar tests for other metrics such as natural ventilation probably laypersons as well) intuitively read the daylight in a space. and thermal performance.

As already mentioned, the test method described in this manuscript needs to be applied to more spaces before more general Acknowledgments conclusions can be drawn. Fortunately, the method is simple and inexpensive to carry out in just about any type of publicly accesThe authors are indebted to the Le Corbusier Foundation and the sible, daylit space. The authors therefore hope that others will Harvard University Department of Visual and Environmental reproduce the experiment, for example within the context of a class Studies for letting us use the Carpenter Center for the student or seminar on lighting, and share their results so that the above assignment. We also thank Ms. Shelby Doyle for building a detailed mentioned preliminary findings can be further tested and refined.

Rhinoceros model of the Carpenter model. This work has been At this point, it is important to note that the daylit boundary supported by the Office for Executive Education at Harvard exercise is not merely about providing data points for scientific University Graduate School of Design as well as a Dean’s Grant. experiments but has substantial educational value for participating students. The act of drawing the daylight boundary and then References measuring illuminance levels along a central gridline has the pedagogical advantage that students develop a feeling for how 300 [1] Reinhart CF, Wienold J. The daylighting dashboard e a simulation-based design analysis for daylit spaces. Building and Environment 2011;46(2): or 500lux “looks like”. They also learn what their personal lighting 386e96. preferences are and how they compare to others. In the era of [2] C.F. Reinhart, A simulation-based review of the ubiquitous window-headincreased reliance on digital design tools, it is imperative that height to daylit zone depth rule of thumb. Proceedings of Buildings Simulation novice users gain, quickly and early on, an intuitive understanding 2005, Montreal, Canada, August 15e18, 2005.

[3] Moon P, Spencer DE. Illumination from a non-uniform sky. Illuminating of performance metrics so as to be able to make informed design Engineering Society of NewYork 1942;37(10):707e26. decisions. This intuition may only occur through direct experience.

[4] Reinhart CF, Walkenhorst O. Dynamic radiance-based daylight simulations for For example, the student in Fig. 3 learned that he or she prefers a full-scale test office with outer venetian blinds. Energy & Buildings 2001; 33(7):683e97. target threshold student levels of 38lux in a studio space such as [5] Nabil A, Mardaljevic J. Useful daylight illuminance: a new paradigm to access the Carpenter Center. That student could then use this target level daylight in buildings. Lighting Research & Technology 2005;37(1):41e59. during daylight autonomy simulations. In the authors’ experience, [6] Reinhart C, Mardaljevic J, Rogers Z. Dynamic daylight performance metrics for sustainable building design. Leukos 2006;3(1):1e20. this type of fast and hands-on assignment tends to be popular [7] Mardaljevic J, Heschong L, Lee E. Daylight metrics and energy savings. Lighting among architectural students as it provides tangible feedback that Research and Technology 2009;41(3):261e83. can be applied in studio projects.

[8] USGBC. LEED-NC (leadership in energy and environmental design) version 2.2.

Available from: www.usgbc.org/LEED/; 2006.

A necessary condition for the proposed daylight boundary [9] USGBC. LEED-NC (leadership in energy and environmental design) version 3.0. assessment method to be scientifically valid is that it yields Available from: www.usgbc.org/LEED/; 2009. reproducible results. Again, these first results are encouraging Lighting measurment e spatial daylight autonomy (draft). NY: IlluCritique of Eileen’s work by Hiromi[10] IESNA. minating Engineering Society of North America New York; September 2011. because the two student groups tended to choose very similar

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[11] M. Saxena, L. Heschong, K.Van Den Wymelenberg, S. Wayland, 61 Flavors of daylight, in Proceedings of the ACEEE Summer study 2010 on energy efficiency in buildings 2010, American council for an energy-efficient economy: Asilomar, CA, USA. [12] Taylor AK. The daylight illumination required in offices, illumination research technical paper No. 12. London: Department of Scientific and Industrial Research, HMSO; 1931.

[13] Chynoweth P. Progressing the rights to light debate: part 2: the grumble point revisited. Structural Survey 2005;23(4):251e64.

[14] Sekler E, William C. Le Corbousier at work: the genesis of the carpenter center for the visual arts. Cambridge, MA.: Harvard University Press; 1978.

[15] McNeel R. Rhinoceros e NURBS modeling for windows (version 4.0). Available from:. Seattle, WA, USA: McNeel North America www.rhino3d.com/; 2010.

[16] Ward G, Shakespeare R. Rendering with radiance. The art and science of lighting visualization. Morgan Kaufmann Publishers; 1998.

[17] Reinhart CF, Daysim version 3.1: Cambridge, MA, USA [accessed 2011].

[18] Lagios K, Reinhart CF, Niemasz J. BuildSim 2010. In: Animated building performance simulation (ABPS) e linking rhinoceros/grasshopper with radiance/daysim. New York City, NY, USA: IBPSA-USA; 2010.

[19] CIBSE. S.o.L.a. lighting. In: Sll lighting guide 11:surface reflectance and colour.

London, UK: CIBSE; 2001.

[20] Adobe. Adobe Photoshop version CS4 <http://www.adobe.com>. [last accessed in March 10].

[21] McNeel R. Grasshopper e generative moeling with rhino. Available from:. Seattle, WA, USA: McNeel North America <http://www.grasshopper3d.com/>; 2010.

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Design With Climate

The Role Of Digital Tools In Computational Analysis Of Site-Specific Architecture Azadeh Omidfar and Dan Weissman Published in: Hanif Kara and Andreas Georgoulias, Interdisciplinary Design, New York: Actar, 2012

“When your house contains such a complex of piping, flues, ducts, wires, lights, inlets, outlets, ovens, sinks, refuse disposers, hi-fi re-verberators, antennae, conduits, freezers, heaters -when it contains so many services that the hardware could stand up by itself without any assistance from the house, why have a house to hold it up. When the cost of all this tackle is half of the total outlay (or more, as it often is) what is the house doing except concealing your mechanical pudenda from the stares of folks on the sidewalk?”

-Rahner Bahnam: A Home Is Not A House, 1965 “The discourse on semantics of ‘vernacular’ is inconsequential. What matters is the localized knowledge-base of climactic responsive formal techniques/operations at scales ranging from the body to the city that have been underutilized or ‘lost’ since the advent and subsequent reliance on ‘active’ systems, or those that rely on electrical energy to produce environmental effect.”

-Amos Rapoport: Defining Vernacular Design, 1990 Abstract A Paradigm shift is in process: Blanket applications of active electro/mechanical technologies supporting Architecture are being replaced by the nuanced application of high-tech in the design process, revealing opportunities for high-performance 'low-tech' formal solutions in built structures. For too long the term Sustainable Design has been synonymous with green roofs and solar panels, yet the application of energy production/ reduction technologies onto buildings does not constitute any sort of sustainable gesture if the building form itself is not designed to optimize its own natural performance in the first place. Digital tools therefore provide the potential for architects to reclaim such responsibilities abdicated to engineers over the past two centuries, and allow for radically integrated design processes to optimize building performance unavailable to the fragmented and bloated building industry, with its accrued standards over the past century.

This paper positions digital design and analysis tools in a lineage of research and design since Modernism, focusing on how the recent proliferation of such tools is quickly changing how design teams create site specific, performance optimized architecture.

This shift creates new opportunities for formal and structural complexity in response to, instead of at odds with energy performance, user comfort and sunlight. Ultimately, this shift presents an opportunity for designers to radically reinvent Architecture as a formal delivery mechanism for atmospheres, shaking Architecture of its reliance on mechanical systems. Performance optimization is the pinnacle criteria of contemporary Architecture.

However, with this development, recent studies have uncovered a range of concomitant pitfalls where good design intentions have resulted in miscalculations and unexpected results in the built environment. Although contemporary digital tools offer vast possibilities for quickly analyzing every element of our physical world, the calculation engines behind such programs are complex, and tailored to specific functions not necessarily understood by novice users. Users who perform analysis without an understanding of the meaning and methods behind such calculations may simply create errors; as they say, garbage in, garbage out. To understand the potential opportunities as well as pit-falls of digitally driven climate-responsive architectural design, this paper describes the limitations of several simulation tools as well as built examples where the such limitations were revealed through the design and construction process.

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Publications Introduction The proliferation of new digital tools for computational analysis in parallel with improved fabrication techniques enable the potential for radically reinvented passive architectural systems, closing the long standing schism between architectural and engineering design processes. These techniques may be based on either vernacular methodologies or wholly new forms yet untested. For example, the Hewlett Packard Software Campus in Bangalore, India, designed by Rahul Mehrotra Architects, and the DSW Building, by Sauerbach Hutton in Berlin, both critically employ digital climatedesign tools to create novel formal architecture. They employed ‘high-technology’ in the design phase to engage architectural form as the climate systems, and thereby reduced the necessity of mechanical/electrical technologies during the lifetime of the buildings. In these cases Architecture can be seen, from the moment of inception, as a technological device able to employ basic principles of physics in the design and construction of a finished architectural product. Through well-integrated design processes, such elemental principles as aerodynamics, optics and thermodynamics can be integrated to ‘thicken’ formal strategies and spatial organizations, instead of layered on as discrete systems as lamented by Banham.

Arguably, a primary gauge of contemporary architectural design is the effectiveness to which it sets in motion a series of actions in an environment that create positive changes, whether they be the supposed ‘silver bullet’ of CO2 emission reduction to minimize the effects of climate change, or merely decreasing dependence upon fossil fuels and associated energy costs. Although energy saving techniques contribute to both social and economic sustainability, for the sake of this paper we shall sideline this critical discussion. It is our responsibility as designers to understand and engage sustainability metrics through design thinking, questioning reductive assumptions about the world while promoting radically new methods of evaluation. However, it must first be understood that this contemporary drive is not new, but has significant roots in recent history.

A False Modernity Originally employed to shelter humans from the natural world, building was devised as a means of protection from the everyday uncomfortable weather conditions and the intensity of natural disasters. Climatic responsiveness was deeply embedded in architecture through accrued locally understood collective knowledge. Since western industrialization, the development of active systems able to deliver heating, cooling and artificial light, has decoupled architecture from context. Glass towers in the desert proliferate.

To heighten this decoupling, many Modernist western architects sought to create a universal language for architecture that could transcend particular site conditions by celebrating the mechanistic and the technological. Rather than a building derived from local context, Modern architecture explicitly relied on such active technologies as HVAC systems and fluorescent lighting, intended to allow the new Architecture to transcend space and time to become an ‘international style.'

This popularized view of Architectural Modernism explicitly opposed vernacular or regional approaches to architectural production. However, a less-discussed history of Modernism serves as the basis for today’s digital tools: the pioneering research into climatically responsive architecture at many leading western Architectural institutions throughout the 1950s. Work by Victor and Alday Olgayay at Princeton (Olgyay, 1963), MIT’s Solar House Project (Barber, 2010) and the Architectural Association's research into hot and humid climates provided the basis for many computational analysis programs discussed through this article (Fry,1964). The title of this essay ‘Design With Climate,’ is a direct reference to Victor Olgyay’s treatise to architects of the era (Olgyay, 1963), providing a set of tools by which buildings could be more directly tailored to particularities of their local climates. Ecotect in particular was explicitly developed from the Olgayay brothers work, providing a digital graphical user interface and algorithmic structure to a set of concepts originally published a half-century ago.

Since the 1950s, funding for climatically responsive architectural research, and the resulting academic coursework required by students, has ebbed and flowed with global access to flows of energy. However, over the last decade, sustainability has become a withered cultural trope, while the frequency and intensity of recent weather patterns, the exponentially growing human population, and dependence upon and diminishing quantities of fossil fuels have heightened a sense of urgency towards radical shifts in p103

practice toward sustainable design and construction.

Models Ignasi de Sola-Morales, in his essay Weak Architecture (Solà-Morales,1989), discusses an archaeological “deconstruction” of layering which exposes more information about the site and uncovers an additional tool for describing a superimposed reading of reality.

To design a structure at a particular location, a kind of “deconstruction” must occur in order to gain a deeper understanding of the “layering” of the site and its forces. Today’s digital tools provide designers access to the collective knowledge accrued by humanity of the immaterial forces at work in our world, allowing a richer and deeper understanding of specific sites and contexts. However with this new power, it is imperative that users in both industry and academia have a thorough understanding of three principles: 1. Computational models are often simplifications of reality for pragmatic computational purposes, and simplifications inherent in those models may be overlooked by the users.

2. In attempt to ease their use, certain programs provide default settings that may not be appropriate to every project in every environment.

3. Available data, such as in weather or electrical lighting files may be not fully accurate for the particularities of any given project.

In parallel with other facets of the architectural discipline, such as structural design or building fabrication, the skill set for analyzing and designing low-energy consuming buildings was long ago forfeited by architects and handed off to engineers. However, a wide range of digital tools such as Ecotect , Transys, DesignBuilder, ESBR , and IES have begun to reverse that trend, by providing architects and engineers with highly articulated models of how their designs may perform before constructing them in reality. These tools allow the users to quickly generate colorful output diagrams explaining many elements of climate-responsive design including solar radiation, day-lighting, natural ventilation, or user comfort.

For better or worse, these output diagrams, graphs and images are often assumed to be scientifically accurate in spite of two underlying issues. First, in the design process, computational models are sought to provide feedback on design decisions, with the goal of optimizing a set of conditions determined by design team, and provide assurance that designs will make a positive effect after implementation. Digital tools rely on mathematical models, which must externalize certain elements of reality, such as complex thermodynamic phenomena, either for computational purposes or so that a cause and effect relationship may be identified. However in physical reality, these externalities may in fact be defining drivers of environmental conditions, and simplification may cause design decisions to be based upon completely incorrect assumptions. Secondly, a model’s accuracy is only as good as the base information provided from the start. Incorrect assumptions or predetermined default settings may dramatically alter results. Therefore, it is critical for the designer to understand the limits of each individual software package before using it as a design tool.

To understand how such issues arise, we shall investigate here the shortcomings in two widely used simulation tools: Ecotect and DesignBuilder. DesignBuilder is an energy analysis package developed in the United Kingdom as a front-end graphical interface for the DOE’s Energy Plus. Ecotect, developed by Square One! and now owned by Autodesk, is a general sustainable design platform for basic thermal, solar, and acoustic analysis and design, adopted by numerous architectural firms and taught in many academic institutions since its development in the mid 1990s.

Simplified Algorithms Although Ecotect allows for many types of analysis, probably its most widely used functions is daylight simulation. Offering a quick interface for understanding sun position and shadows, Ecotect may also perform basic calculations such as daylight factor (the percent of daylight inside a structure as a function of building geometry). However, Ecotect’s internal daylight calculation engine uses the 'Split-Flux Method' algorithm, a highly simplified calculation that only calculates direct light and a first bounce, but explicitly does not calculate any inter-reflected light from surfaces in the environment or building space, often called global illumination or ambient bounce in other software packages. Because of this simplification, the calculation has the significant potential to provide highly incorrect light level indications. Design decisions based on such results may fundamentally alter the building’s performance, which could include heavy contrast ratios and glare or unintended dark spaces where electric lighting must be employed to make up the difference. Ecotect’s developers were acutely aware of this limitation, Dan Weissman | Teaching Portfolio

Publications and therefore included the option to export building geometry and materials into the validated Radiance engine for accurate lighting analysis.

The inappropriate use of Ecotect’s internal daylight simulation manifested itself in the recently completed Heelis National Trust Central Office in Swindon, Uk, designed

by Feilden Clegg Bradley Studios. When lighting analysis was performed in Ecotect, problematic areas were shown brighter in the simulation than in the actual built design, resulting in the unintended over-dependence on electric lighting. Although the building did not quite achieve its ambitious performance goals, it still managed to outperform most buildings in the UK. (Tyler, 2009) The problem of simplified calculation algorithms also arises in DesignBuilder when generating simulations for thermal mass. Unlike lighting calculations, thermal calculation algorithms are not directly based on physical geometry. In the calculation, DesignBuilder distributes solar radiation into digital space based on simplified window to wall ratios and U-values for material assemblies, disregarding building geometry.

Although this method works fine for calculating internal loads in buildings, designing effective thermal mass requires an additional direct solar radiation calculation, which must be based upon exact building geometry and site location. When performing a thermal mass calculation in DesignBuilder, users are presented with options for calculation complexity. The simplest and fastest calculation lumps all windows into a single window-to-wall ratio and disregards direct solar. This calculation can only provide for ball-park figures, as it will always under-predict energy savings. The more complex option, exporting precise window locations for an added direct-solar calculation, takes longer, but results in a more accurate calculation. However, even this longer method still produces inaccuracies, as DesignBuilder also uses the splitflux method to calculate daylight. To attain truly accurate results, the solar calculation would require the use of Radiance.

To complicate matters further, DesignBuilder offers a check-box for easily applying thermal mass. However, instead of including this mass in architectural surfaces (which may be added manually when designating materials), this setting merely creates a block of concrete in the middle of each room that may only absorb conduction, not any solar radiation. Because this block of thermal mass only responds to conduction, imprecise air infiltration rates could change the impact of air temperature. If one uses the default setting which assigns a single infiltration rate for an entire building, the same quantity of air is delivered from outside into every room of building. This is an impossibility when interior zones exist that are not adjacent to exterior surfaces, producing vast inaccuracies across the calculation (Ibarra, 2011). Is your head spinning yet?

Garbage in - Garbage Out: Weather Files

Although not the only program able to load and manipulate weather files, Ecotect is widely used for weather analysis in the early stages of Architectural design. To begin, one must download a local weather file from the Department of Energy (DOE) website.

These “Typical Meteorological Year” weather files represent expected, but not actual, weather patterns at a given location, which include temperature, humidity, wind direction and speed, solar radiation and rainfall. These files may be problematic for two reasons: location accuracy and file data accuracy.

First, DOE only catalogues climatic information from available weather stations, which until recently was mostly at airports since flight required highly accurate weather prediction. However, airports are situated on large open areas of land with climatic conditions far different from urban conditions. This can highly skew building performance criteria when the geographically closest weather file to a project site has quite different micro-climatic conditions. Although solar radiation, rainfall and humidity may not be radically different depending on local conditions, localized wind patterns are notoriously fickle from location to location and should not be trusted.

Secondly, TMY file data may not be an accurate representation of local climates. TMY files are generated from a 30 year timeframe, where TMY = 1952-1975, TMY2 = 19611990, and TMY3 = 1976-2005. As better surveying techniques and climate change proliferate, older climate files sease to provide accurate pictures of their locations.

Moreover, as the files are compiled from statistically defined weather patterns over the past century, they do not have the capability to determine future weather patterns as climate shifts occur. Although algorithms that can ‘morph’ existing TMY files for projected climate change have been developed, such as the tool by the University p105

of Southampton, UK, the algorithm is based on 2001 climate change data, which is also outdated. Ultimately, the weather files attained through the DOE are the best we currently have, and although they will continue to be used for analysis, their limitations must be considered (Holmes, 2011).

Default Settings Beyond data accuracy, incorrect use of weather file information may result in serious building performance losses. For example, when one opens the wind rose dialogue box in Ecotect, the first default diagram shows wind over the entire year. Although orientation towards prevailing winds for natural ventilation is ideal, orientation must be considered seasonally depending on local climate, such as toward the prevailing wind in the summer, but not the winter, in northern climates. Programs such as Ecotect could assist future users in avoiding such basic pitfall errors by simply changing or modifying the way in which users access such presets. Ecotect also includes a building orientation optimization tool, which employs a black-box calculation based on solar radiation and, presumably wind. Although the calculation seems to be based in the Olgayay’s calculations for optimizing orientation, Ecotect does not provide the opportunity for designers to understand the basis for this calculation. If based on the specific weather file data, this too may have its limits.

A more extreme example of this problem is revealed in DesignBuilder. In an attempt to create a user-friendly, easy to use environment for beginners, the program initiates a set of default values when a building form is created. These default values are independent of the project, site, and climatic conditions. As many of the presets are hidden in dropdown lists, default parameters may be easily overlooked, resulting in inaccurate design decisions (such as the aforementioned thermal mass calculation). HHolly Wasilowski Samuelsonve stigated the difference in simulation results using both default values and custom values in her paper “Modeling and Existing Building in DesignBuilder/ EnergyPlus: Custom vs. Default Inputs”(Wasilowski, 2009). Here, the author analyzed Harvard Graduate School of Design’s Gund Hall to understand the difference in results.

The graph below illustrates the discrepancies.

These tables illustrate the error in simulation results when compared to measured electricity, heating and cooling utility data provided by Gund Hall’s building manager, shown by the thick blue line. The top dashed line shows simulation results using all custom inputs. The other two dotted lines show simulations using various combinations of default inputs. The table on the top shows the “All Custom Inputs” results and the bottom table shows the “All Default Inputs” results. For all values, electricity, heating and cooling, custom values clearly represent reality closer than default settings. For example, the annual electricity consumption is off by 0.2% for the custom simulation and 18% for the default simulation.

It is understandable that programmers include presets in such analysis tools, as many architect users are not well versed in rule-of-thumb settings. However, this is clearly a double-edged sword. By providing presets, simulation tools unintentionally introduce a stumbling block towards accurate simulations. However, if simulation tools required all parameters to be input by the user, many designers simply would not spend the time creating the simulation. A balance must be made that allows designers to gain an intuitive understanding of all parameters and appropriate values for their design and context, without sacrificing the the accuracy of calculation.

Conclusion: On Architectural Pedagogy Buildings are significant consumers of resources, and we desperately need for designers to begin weaning buildings off fossil-based energy sources. But in this shift towards sustainability, the need for climatically responsive architecture has failed to reengage Architectural discourse since its moment in Modernism. Sustainability today is too often merely an appliqué of techie goodies intended to sell real estate or perform didactic roles, and not truly able to produce new architecture. Moreover, Architects have often lamented the systematization of the building industry, and sustainability as the apex of prescriptive requirements. The digital tools discussed here offer the opportunity for paradigm shift, allowing architects the potential to design truly novel form, materiality, atmosphere and experience that critically engages any particular architecture’s full context as well as further our discipline.

This discussion is not meant to ward off potential users of digital tools, merely to note that venturing into this new world requires the requisite telling of cautionary tales. As Dan Weissman | Teaching Portfolio

Publications illustrated here, analysis tools are only as good as the ability of their users to apply them appropriately in the design process, and to input and interpret the data correctly.

The aforementioned problems are not specific to Ecotect or DesignBuilder, as many others contain their own unique limits. Yet these tools are extremely powerful if used correctly and their limitations understood. We must collectively provide checks to maintain our profession’s integrity.

In the near future we will see continued advances in design integration, as well as computational algorithm accuracy and user interface improvements. Predictive climate/weather data for the entire earth will become available in real-time, as well as seamless interfaces that allow for continuous feedback throughout the design and fabrication process and throughout the lifetime of buildings. While promoting 'Design with Climate,’ potential pitfalls must be actively addressed by the academy in the training of professionals through a holistic approach to teaching methodologies that integrate basic back-of-envelope calculations in parallel with digital tools, creating the atmosphere of healthy skepticism of all results. This suggests the need for radical educational shifts able to foster such abilities within the designer: a masterful mediation between a trove of analogue and digital data and tools, with a healthy and critical understanding for when and how to deploy each in the design process. To design sustainably is to ask the right questions, understand site and design with climate.

References Banham, Reyner; “A Home is Not a House,” Art in America, 1965 Apr., v. 53, pp. 70-79.

Barber, Daniel; "The Modern Solar House: Architecture, Energy and the Emergence of Environmentalism, 1938-1963." (PhD Dissertation, Columbia University, 2010) DesignBuilder [online]http://www.designbuilder.co.uk/ Ecotect [online] index?siteID=123112&id=12602821 EnergyPlus: cfm

http://usa.autodesk.com/adsk/servlet/pc/

http://apps1.eere.energy.gov/buildings/energyplus/energyplus_about.

Fry, Maxwell and Jane Drew . Tropical architecture in the dry and humid zones. London: B. T. Batsford. 1964 Ibarra, Diego; "DesignBuilder." May 17, 2011. E-mail. 31 May 2011.

Holmes, S. (2011). Climate change risks from a building owner's perspective: Assessing future climate and energy price scenarios. Masters Thesis: Harvard University Graduate School of Design.

Ibarra, Diego I.; Reinhart, Christoph F.; DAYLIGHT FACTOR SIMULATIONS – HOW CLOSE DO SIMULATION BEGINNERS ‘REALLY’ GET?; Graduate School of Design, Harvard University, Cambridge MA, USA, 2009 Moe, Kiel; Thermally Active Surfaces, MIT press, Cambridge, MA, 2010 Rapaport, Amos, Defining Vernacular Design in Vernacular architecture : Paradigms of environmental response. Turan, M., ed .Aldershot England ;Brookfield, USA: Avebury.

1990.

Taylor, Ian. "Heelis Project." In Search of Design through Engineers. GSD, Cambridge.

Lecture. [2009] Olgyay, Victor; 'Design With Climate' Princeton Architectural Press, Princeton, NY, 1963 Solà-Morales Rubio, I. (1989). Architettura debole = Weak architecture. Ottagono, (92), 87-[129]. Retrieved from EBSCOhost.

H A Wasilowski, Reinhart C F, "Modeling an existing building using customized weather data and internal load schedules as opposed to default assumptions - A Case Study", Proceedings of Building Simulation 2009, Glasgow, July 2009.

Weather Data. (n.d.). Retrieved from http://www.eia.doe.gov/emeu/cbecs/

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Beijing Tianjin

Souzhou

Shanghai Hongzhou

Kyoto Tokyo

Honolulu Hilo Seattle

San Francisco Santa Barbara Los Angeles

San Diego

Vail

Bolder

Eagle Duluth Minneapolis

River

Madison Denver ColoradoSprings City Kansas Los Alamos Phoenix Tucson Wichita Santa Fe St. VLA Tulsa Branson Eureka Springs Grand Canyon

Toronto

Milwaukee Ann Arbor

Agusta Portland

Chicago

Louis

Boston

Providence Pitt New York Bourbon Trail D.C.Baltimore Charlottesville

Sanabell

Miami Key West

Puerto Vallarta

Cancun

Port au Prince Jamaica

Puerto Rico Virgin Islands

Antigua Costa Rica

St. Lucia

Panama Canal

Barbados Cartagena

DURATION

Move

LIVE TRAVEL

TRANSPORTATION

+1 Week -1 Week

Car Plane Train Boat Heavily Travelled Route

Dan Weissman | Teaching Portfolio

San Diego, CA 1983 Baltimore, MD 1983-1986 Shorewood, WI 1986-2001 Helsinki Stockholm

Reykjavik

St. Petersburg

Camp Interlaken Eagle River, WI Summers 1994-1999

Moscow

Bornholm Arhus Copenhagen Amsterdam Rotterdam UtrechtBerlin London Essen Bath Brussels Oxford Friburg Basel Paris Zurich Lyons

Lugano

Piza Florence Rome

Porto Madrid

Lisbon

AMHSI Hod Hasharon, IL Dec. 1999- Jan. 2000

1983

1985

1995

2001

Washington University Israel

St. Louis, MO 2001-2005

Barcelona

2002

Camp JCC Councelor Fredonia, WI

2003

Architecture Study Abroad Europe Urban Solutions

2004

Evanston, Il

DIS

Copenhagen, DK

2005

TA: 212 Studio Lam Partners Cambridge, MA 2005-2008

BAC Instructor: B1 Studio 365 Lighting Design BAC C.Design.Ed. Nuckolls Grant

2006

2007

2008

University of Michigan Ann Arbor, MI 2008-2010

Belo Horizonte, Brazil BASE_Beijing, China

Belo Horizonte Ouro Preto

TA: Generative Computing RA: Integrated Assesment Macro Local Lab Lam Partners Harvard GSD Cambridge, MA 2010-2012

TA: LaDallman Studio RA: Daylightng + Haiti Port au Prince, Haiti BAC Studio: Bluegrass Urbanism

Daweissman Design Studio BAC Studio TM269 Environmental Systems

2009

2010

2011

2012

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DA N W E ISS M A N

30 Oakland St. Cambridge MA 02139 daweissman@gmail.com 414 688 3533

Dan Weissman | Teaching Portfolio