Design Make Studio 2017-2018

VOLLAND ARTS & HUMANITIES RESIDENCY A PLACE FOR ART & COMMUNITY

2017-2018

Contributing Authors Keegan Amos Nicole Bauknight Evelyne Chokkattu Lucas Downes Jonathan Eden Angel Llanes Tanner Lopez Karl Ndieli Dipen Patel Kaydee Seematter Amber Summers Austin Ungerbuehler Aoran Zhang

Contributing Authors Keegan Amos Nicole Bauknight Evelyne Chokkattu Lucas Downes Jonathan Eden Angel Llanes Tanner Lopez Karl Ndieli Dipen Patel Kaydee Seematter Amber Summers Austin Ungerbuehler Aoran Zhang

1.

2.

3.

4.

5.

INTRODUCTION

BACKGROUND

RESEARCH

SITE ANALYSIS

PROGRAMMING

PURPOSE

3

THE BEGINNINGS

25

OVERVIEW

41

LOCATION

101

OVERVIEW

119

STUDIO OVERVIEW

7

THE POPULATION

27

WHY RESIDENCY?

43

DEMOGRAPHICS

106

SWOT ANALYSIS

126

PAST WORKS

9

THE VOLLAND STORE

29

DEFINING RESIDENCY

45

CONTEXT DIAGRAMS 109

RESIDENCY ELEMENTS

129

REVIVAL SUCCESS

33

PRECEDENTS

47

MATERIALITY

HOUSE CONDITIONS

131

INTERVIEWS

87

THE STUDIO

11

STUDIO PROCESS

13

SEMESTER TIMELINE

15

114

6.

7.

8.

9.

10.

ENGAGEMENTS

PROPOSALS

IMPLEMENTATION

FABRICATION

COMMUNICATIONS

OVERVIEW

137

OVERVIEW

175

OVERVIEW

229

OVERVIEW

267

OVERVIEW

349

LIGHTING STUDIES

139

PROPOSAL ONE

177

DEVELOPMENT

231

SITE CONSTRUCTION

269

PRESENTATIONS

351

BRICK STUDIES

147

PROPOSAL TWO

185

INTENTIONS

242

FABRICATION SHOP

333

REFLECTIONS

365

COMMUNITY

161

PROPOSAL THREE

195

COMPONENTS

243

LESSONS LEARNED

423

DISCOVERIES

165

PROPOSAL FOUR

207

FUTURE

425

PROPOSAL FIVE

217

1.

1

PURPOSE

3

STUDIO OVERVIEW

7

PAST WORKS

9

INTRODUCTION

THE STUDIO

11

STUDIO PROCESS

13

SEMESTER TIMELINE

15

VOLLAND, KS | A PLACE FOR ART

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INTRODUCTION

3

PREFACE

This book serves as a synopsis of the work completed during the Fall and Spring Semesters of Design Make studio. Academically, the book is intended to fulfill credit requirements of the Project Programming and Design Communications portions of fifth year studio, which directs students in laying a solid foundation for the design project.

Externally, the book acts as a way to inform interested parties on the details of the project, as well as its progress.

This book contains all the exploration, research, and design that this studio has accumulated throughout the year, showing how we arrived at our final design proposals. Not only is this book a benefit to people uninvolved in the project, but it benefits our studio too. It reminds us of the history we must

respect, past precedent studies we have learned from, and design lessons we have discovered.

The 2017-2018 Design Make studio aims to create a project that expands artist’s opportunity to develop their skills and craft in an environment that will impact them, just as it has impacted us. This endeavor hopes to foster inspiration through the beauty of the Flint Hills and the people that live in its landscape. While Volland already possesses a unique and embracing community, the creation of a strong residency program will supplement the creative culture that surrounds the store and it’s people. Lastly, our studio hopes this project will act as one piece of many to come as Volland continues to develop it’s community, culture, and creativity.

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INTRODUCTION

5

ACKNOWLEDGMENTS

We would first like to thank the Department of Architecture at Kansas State University for giving us the opportunity to participate in the Design Make studio while maintaining the ongoing relationship between Design Make studio and el dorado inc. The studio would also like to recognize a few key characters who have made the work that has been completed this year possible.

We would like to thank both Patty and Jerry Reece for the focus and design problem for our capstone studio by allowing us to help develop and further their investments. Their passion for Volland has served as a catalyst for design and exploration. Don Hendricks has provided a wealth of knowledge while exploring the houses of Volland. He has given insight into the possibilities of what we may be able

to structurally change and what will need to be addressed moving forward.

Additionally, Hesse McGraw and the artists who were interviewed assisted by giving us the artist perspective regarding an artist residency program. Their individual experiences in a multitude of different programs has allowed the studio to focus on the important aspects of successful artist residencies and how the design might be able to better respond to its intended purposes.

Lastly, recognition is due to our professor, David Dowell, and the staff of el dorado inc who have contributed to the conversation and schematic design phase thus far. These individuals have helped guide our activities, explorations, progress, and development. This book is evidence of the culmination of passion, contribution, and effort of these individuals and our studio.

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INTRODUCTION

7

STUDIO INTRODUCTION

THE STUDIO This book serves as a synopsis of the work completed during the Fall and Spring Semesters of Design Make studio. Academically, the book is intended to fulfill credit requirements of the Project Programming and Design Communication portions of fifth year studio, which directs students in laying a solid foundation for the design project.

Externally, the book acts as a way to inform interested parties on the details of the project, as well as its progress. This book contains all the exploration, research, and design that this studio has accumulated throughout the year, showing how we arrived at our final design proposals. Not only is this book a benefit to people uninvolved in the project, but it benefits our studio too. It reminds us of the history we must respect, past precedent studies we have learned from, and design lessons we have discovered.

2017-2018 PROJECT The 2017-2018 Design Make studio aims to create a project that expands artist’s opportunity to develop their skills and craft in an environment that will impact them, just as it has impacted us. This endeavor hopes to foster inspiration through the beauty of the Flint Hills and the people that live in its landscape. While Volland already possesses a unique and embracing community, the creation of a strong residency program will supplement the creative culture that surround the store and it’s people. Lastly, our studio hopes this project will act as one piece of many to come as Volland continues to develop it’s community, culture, and creativity.

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INTRODUCTION

PAST WORKS

FLINT HILLS POOL TRELLIS Elmdale, Kansas

2014 2013

2015

GIRL SCOUT CAMP DAISY BATH HOUSE Dover, Kansas

JOHNSON COUNTY SUNSET PAVILION Olathe, Kansas

9

PRESTON EDUCATION CENTER Elmdale, Kansas

VOLLAND ART INSTITUTE Volland, Kansas

2016

2018 2017

THE WALDO DUPLEX Kansas City, Missouri

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INTRODUCTION

THE DESIGN MAKE TEAM

AMBER SUMMERS

EVELYNE CHOKKATTU

Financial Coordinator, Design+Make

Research Manager, Design+Make

Documentation Manager, Design+Make

JONATHAN EDEN

NICOLE BAUKNIGHT

ANGEL LLANES Marketing Director, Design+Make

Documentation Team, Design+Make

AORAN ZHANG

KARL NDIELI

Documentation Team, Design+Make

Social Media Director, Design+Make

AUSTIN UNGERBUEHLER Research Manager, Design+Make

KAYDEE SEEMATTER Schedule Director, Design+Make

LUCAS DOWNES

Client Liaison, Design+Make

TANNER LOPEZ Financial Director, Design+Make

MEGAN ELZINGA Project Coordinator, KSU

DIPEN PATEL

KEEGAN AMOS

RANDI JENNER

Graphics Coordinator, Design+Make

Construction Manager, Design+Make

Project Coordinator, KSU

11

Client

Eldo Team

PATTY REECE Client

JERRY REECE Client

Consultants

DAVID DOWELL

DON HENDRICKS

Principal, el dorado inc

Head Contractor

TED ARENDAS

ALAN GAST

Project Architect, el dorado inc

Structural Engineer

BROCK TRAFFAS

DEREK PORTER

Designer, el dorado inc

Lighting Consultant

HESSE MCGRAW

GEORGE TERBOVICH

Principal, el dorado inc

Interior Designer

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INTRODUCTION

Research

Feedback

Design

13

THE STUDIO CYCLE

Design is an iterative process that requires trial and error as well as critiques and adjustments. This studio has been no different, but it’s this repetitive process that produces great architecture. It begins with research, which informs design. After investigating solutions, the product is presented and critiqued. Once feedback is given, the process begins again, incrementally improving the project outcome.

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INTRODUCTION

SEMESTER TIMELINE Research Design Feedback Construction

Studio begins to study artist residencies in order to understand what makes an effective residency program.

The Studio visits Volland for the first time, introducing us to the store, the houses, and other site elements.

Studio visits Kansas City to be introduced to the Mattie Rhodes Organization and present tuning devices at el dorado inc.

PRECEDENT RESEARCH

VOLLAND TOUR

TUNING DEVICE PRESENTATIONS

August 23

September 1

September 8

August 21

August 30

September 3

September 11

FALL SEMESTER START

PRECEDENT PRESENTATION

TUNING DEVICES

TUNING DEVICE REFINEMENT

First day of class, studio and project introductions are made.

Studio presents precedents to David Dowell at KSU.

The studio is introduced to tuning devices as a

The studio is introduced to tuning devices as a method of understanding Volland.

method of understanding Volland.

15

Studio begins to collect site data and document existing conditions.

Project is broken into three categories in order to gain a better understanding of the project requirements.

Accurate existing measurements are taken and modeled.

VOLLAND SITE ANALYSIS & DOCUMENTATION

PROGRAM, PLACE, & PEOPLE

MEASUREMENTS

September 15

September 22

October 12

September 18

September 29

October 15

CONDUCTED INTERVIEWS

TUNING DEVICE PRESENTATIONS

PROGRAM TEST FITTING

Studio interviews key constituents involved in the project.

Tuning devices are evaluated and groups are formed according to similarities and goals.

Studio evaluates possible program with existing houses.

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INTRODUCTION

SEMESTER TIMELINE Research Design Feedback Construction

Studio sits down for dinner with the Volland board and light study tuning device is presented.

Study of brick stacking possibilities begins and the board decides to move forward with the north house.

Four groups established to explore different possibilities to the north house.

LIGHT STUDY

BRICK STUDIES

4 PROPOSAL TEAMS

October 26

October 30

November 13

October 27

November 5

VOLLAND BOARD PRESENTATION

SELECTIVE DEMOLITION & EXTENSIVE RESEARCH

Conceptual proposals and site analysis are presented to the Volland board.

Studio begins exploratory demolition and study of conditions.

17

Proposals are individually critiqued by David Dowell at Kansas State University.

Proposals presented to Patty Reece to decide which design will move forward.

DESK CRITS @ KSU

SCHEME SELECTION

November 29

December 8

November 17

December 6

December 26

DESIGN CHARRETTE

FOUR HOUSE PROPOSALS PRESENTED

DESIGN DEVELOPMENT & CONSTRUCTION DOCUMENTS

Studio, artists, and el dorado inc conduct design charrette to further develop designs.

Groups present each proposal to David Dowell in Kansas City at el dorado inc.

Design will be progressed and construction documents will begin at el dorado inc in Kansas City.

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INTRODUCTION

SEMESTER TIMELINE Research Design Feedback Construction

Small team of students and architects progress design at el dorado over winter break.

WINTER INTERSESSION

January 2

The addition on the west side of the house is removed an the building is returned to its original proportion.

The lathe and plaster is removed from walls and ceiling, revealing the internal structure.

ADDITION REMOVAL

LATHER AND PLASTER REMOVAL

January 31

February 7

January 12

February 2

GLASS BRICK PRESENTATION

STRUCTURAL ENGINEER CONSULTATION

Winter intersession work is presented to the client and refined.

Alan Gast visits with students about design intent and is brought onto the project team.

19

Lily Brooks and Jeremiah Arias are presented the project and provide feedback from their unique perspectives.

Meeting with UNL students to evaluate the importance of rural artist residencies.

ARTIST INSIGHT

HOEDOWN THROWDOWN

February 12

March 1

February 9

February 25

DESIGN STRATEGY REEXAMINATION Revaluation of glass brick design results in the development of a more subtle scheme.

CHIMNEY REMOVAL AND ROOF IS PATCHED The brick chimney is removed and allows for the space to be visualized further.

March 5 SIDING RESTORATION BEGINS The paint begins to removed from the cedar siding to begin the restoration process.

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INTRODUCTION

SEMESTER TIMELINE Research Design Feedback Construction

The interior studs are removed and exterior walls are braced, which allowed for exploration of the open volume.

The front and back concrete porches are removed by sledgehammers and jackhammers.

Weekly calls and meetings begin with the owners, architects, contractor, and two student representatives.

INTERIOR WALL REMOVAL

CONCRETE REMOVAL

OACS MEETINGS BEGIN

March 28

April 9

March 12 March 15

March 29

INTERIOR PROTOTYPE FABRICATION BEGINS

LIGHTING CONSULTANT AND PRESENTATION

Casework design and furniture is developed and built as full scale prototypes in the fabrication shop.

Derek Porter visits with the students about lighting design and the impact lighting can have on architecture.

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Trenches are finished and rebar is tied around the foundation.

Formwork is built to restructure the foundation.

Students present work to a jury in the Kremer Competition to conclude academic design work.

FORMWORK BEGINS

KREMER PRESENTATION

April 19

May 4

April 16

April 20

May 12

RIM JOIST REPLACEMENT BEGINS The bottom layers of siding is removed and rim joists are removed and replaced around the perimeter.

INTERIOR DESIGN CONSULTATION

APDESIGN GRADUATE COMMENCEMENT

George Terbovich explores the design and provides input on the importance of interior details.

Students graduate from KSU and the project continues into the summer to complete the high quality fabrication process.

VOLLAND, KS | A PLACE FOR ART

2.

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BACKGROUND

THE BEGINNINGS

25

POPULATION CHANGE

27

THE VOLLAND STORE

29

RESTORATION SUCCESS

33

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BACKGROUND

25

RAILWAY BEGINNINGS

The Chicago Rock Island & Pacific Railway, served the town of Volland located along Mill Creek in the Washington Township of Wabaunsee County, Kansas. In addition to creating a depot, which provided passenger and freight service, the railroad also created a railhead, providing a shipping point for cattle being moved in and out of the Flint Hills pastures. The Rock Island depot also was the home of the Western Union telegraph station which first provided nationwide communication for the town. Telegraph lines ran along the railroad tracks when the telegraph office was established in 1887. Many of the railroad maintenance workers and the section gang members lived along the tracks in Volland in small houses and makeshift barracks buildings crafted from old boxcars. The depot was a popular spot for men to gather, waiting for trains to bring freight

and cattle into town. The railroad’s presence was strong in Volland during the first half of the 20th century. After diesel-powered electrically driven locomotives became standard on the Rock Island line, it was no longer necessary for every passing train to stop to fill with water. So, a pole was erected along the tracks to which outgoing mail bags were attached, allowing mail trains to snatch the bag as they passed. The inbound mail bag was thrown from the train onto the railroad right-of-way. For the first 75 years of Volland’s life, the Rock Island Railway played a major role in the growth and subsistence of the Flint Hills town. An artery that fed the town of Volland, Kansas eventually severed as technology and time advanced, proving to be the end of Volland as it was in the mid 20th century.

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BACKGROUND

Pictures by: Otto Kratzer

Pictures provided by: The Volland Store

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POPULATION

Volland is one of the few small towns within Wabaunsee County, Kansas; it is located nearby the community of Alma which has a population of 802. The population of Volland started as 26 people in 1910.

However, in 1913, the Volland Store drew in residents and the town grew greatly.

The store became a lifeline for the town as ranchers used Volland as a gathering place. The population of the Washington Township (area surrounding Volland) peaked at about 400 people. The Kratzer family was forced the close the store in 1970, due to Otto Kratzer’s death, and the town experienced a decline in population. However, over a hundred years after the store was built, the town began renovating the dilapidated store and celebrated its history and the spirit and charm of Otto was revitalized thanks to Patty and Jerry Reece.

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BACKGROUND

Picture by: Dave Leiker

Pictures courtesy of: The Volland Store

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THE VOLLAND STORE

Volland, Kansas was founded in the late 1800’s when Rock Island Railroad built a depot at the town’s southern edge. On October 18, 1913 Kratzer Brothers Mercantile opened in Volland, built by brothers Otto and Bill.

Filled with merchandise and serving as a post office with two telephone lines, the store quickly became a cultural hub for the surrounding community. On Thursday evenings couples came to shop and stayed to visit. Sunday afternoons families came

to picnic on the west lawn under the trees. The teacher from the nearby one room school stopped in almost every afternoon, and children walked to the store for penny candy. The Volland Store was a centerpiece of the community until the early 1970s when it closed after the death of its storekeeper, Otto Kratzer. But the memories remain strong, and the building is still known as The Volland Store. After the store closed in 1971, the building sat empty for 30 years.

Source: El Dorado Inc. Picture by: Otto Kratzer

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BACKGROUND

Old Store Then & Now Photo by: Tom Parish

Community Then & Now Photo by: Tom Parish

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Depot Then & Now Photo by: Tom Parish VOLLAND, KS | A PLACE FOR ART

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BACKGROUND

Pictures courtesy of: The Volland Store

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VOLLAND STORE RENOVATION

Source: El Dorado Inc.

In 2013, Patty and Jerry Reece purchased the building, and decided to turn it into an art gallery with a small living space serving as an artist’s retreat. While the roof, second and third floors had collapsed, the masonry shell was left structurally intact. The design team laid out a floor plan similar to the original: a large, open space at the front for events and exhibitions were the general store was, and a secondstory living space at the back, above a catering kitchen and restrooms.

The majority of the second story was not rebuilt, leaving the gallery open, flexible and filled with light. The design solution was simple, relying on clean forms and honoring the integrity of original materials and context of the surrounding tallgrass prairie.

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BACKGROUND

Pictures courtesy of: The Volland Store

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VOLLAND STORE EVENTS

The Volland Store is not only an art gallery, but it is a place for the community to gather and share memories, experiences, and each other. Being an intrinsic piece of Volland’s history, the store is the perfect place for people to gather. Whether patrons have been in the area for decades, or whether they stumbled upon Volland; these gatherings are what gives Volland it’s charm and appeal. Countless events have been held at the store, and this residency aims to offer many more events to bring the community together in order to continue the wholesome culture in Volland.

Pictures courtesy of: The Volland Store

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BACKGROUND

Pictures courtesy of: The Volland Store

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VOLLAND STORE ART EXHIBITIONS

The Volland Store has been home to a multitude of artists’ work in the short time it has been established as a gallery. The subject matter has ranged from Kansas Cellars to Vintage American Quilts. Regardless of the medium or style, the community is drawn in by the art shown at the store. This residency will produce countless new exhibitions that will continue to impact the local community.

Pictures courtesy of: The Volland Store

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RESEARCH

OVERVIEW

41

WHY AN ARTIST RESIDENCY

43

DEFINING ARTIST RESIDENCY

45

INTERNATIONAL PRECEDENTS

47

NATIONAL PRECEDENTS

58

REGIONAL PRECEDENTS

75

INTERVIEWS

87

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RESEARCH

41

RESEARCH

Research is arguably the most important aspect of the work flow process. Attempting an intervention of any kind without obtaining a solid foundation of a place inevitably results in a product or design that does not belong in its surroundings.

Investigation into the history of a place tells its story, adding context and understanding to what makes a place unique. History also informs us on mistakes made in the past, and helps us to avoid repeating any such events. Knowledge of the past is vital to shaping the future.

Becoming familiar with a project’s surroundings, both immediate and extended, is a common task for architectural designers; however, this commonality does not reduce it’s importance. Site analysis reveals relationships and conditions

that otherwise could not be observed. It breaks down an area into key elements, allowing designers to improve, replace, hide, or expose them. This analysis reveals opportunities to exploit, as well as challenges to overcome. All of these facts and characteristics make up a place’s physicality, and they are all things to respect and consider.

Gaining insight through interviews and personal interaction can be extremely beneficial to design.

Interviews bring an outside perspective to the design, as well as insight into an unknown field. Conversations with relevant people can improve the understanding of a place as it sits in the present. All these elements contribute to the design process and, ultimately, the final product. Effective design cannot happen without this important step in the work flow process.

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RESEARCH

43

FINDING THE PROPER FIT

Photo courtesy of the Volland Store

There are many opportunities to further engage the community in Volland, Kansas. There are a multitude of factors that support the integration of an artist residency.

The first is that the Volland Store provides the connection and basis for art and community. Artists that come to the residency will be supported and encouraged by the Volland Store and will be entering a community that supports and welcomes art and art exploration. The Volland Store provides information and inspiration to incoming artists which serves as the larger institution to govern the artist residency. Secondly, the location of Volland is the ideal location for

such a residency. A majority of artist residencies are set in rural communities and are still in high demand by a variety of artist backgrounds. Volland has the attractive attributes of being surrounded by prairie landscape, being set in the infamous Flint Hills, providing the isolation, and the solitude that artists desire with the open space for creativity. Our analysis shows that the components for sustaining a successful artist residency are located within and around Volland, making it an ideal location for artists to come and explore themselves further through their art in the Volland artist residency program.

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RESEARCH

GROWING SUCCESS OF ARTIST RESIDENCY PROGRAMS

OTHER SPECIALTY

URBAN

COMMUNITY ENGAGEMENT

RURAL

90% have public programs that engage their local communities

60% are in rural areas and small towns, while 40% are in urban areas

ARTISTS NATIONALLY

ARTISTS INTERNATIONALLY

More than 30,000 artists are provided residencies each year (~10,000 in the U.S.)

Source: www.artistcommunities.org

MULTIDISCIPLINARY

70% are multidisciplinary, serving visual artists, writers, composers, filmmakers, choreographers, and others

NATIONAL PROGRAMS

INTERNATIONAL PROGRAMS

There is an estimated 500 artists communities in the US and more than 1,500 worldwide

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WHAT IS AN ARTIST RESIDENCY?

An artist residency is a program that allows artists to experience a new location and environment to foster his or her form of art. It is an opportunity for new influences and inspiration to infiltrate the artist’s work. Many artists seek and apply to programs that are different from their normal studio or creative space. The draw is the challenge of creating with the resources that are provided and the escape from the every-day life they are used to living.

Artists’ residencies (also called artists’ communities, colonies, retreats, workspaces, and studio collectives) provide dedicated time and space for creative work. Beyond this core value, these creative

communities are a diverse group, and provide artists of all disciplines with many different styles and models of support. Residencies can be found in urban or rural areas, serving one artist at a time or multiple.

Some support one artistic genre while most are interdisciplinary, welcoming visual artists, writers, composers, choreographers, scholars and other creative individuals. There are programs that are active centers for public programs and others that offer solitude and retreat. Many provide room and board as a home-away-fromhome; others offer not a place to live, but a community for local artists in which to work and be supported in the creation of new art.

Artist Residency in St.John’s, Newfoundland

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RESEARCH NEW FOUNDLAND, CANADA

TONDELA, PORTUGAL

SINTHIAN, SENEGAL

BAHIA, BRAZIL

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INTERNATIONAL PRECEDENTS

HAKODATE, JAPAN

International artist residencies are popular for their content, atmosphere, location and unique perspectives that they bring. There are varying experiences and qualities combined with a unique location and potential for international connections. These programs provide artists with rare options and incentives to develop themselves and their art with new outside perspectives. These selected international examples were beneficial for our research as they provided an understanding of differing spaces, programs and attributes for us to learn from.

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RESEARCH

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ARTIST RESIDENCY IN SENEGAL

Program Title The Artist Residency in Senegal

Location Sinthian, Senegal

Interviewers Keegan Amos

Summary Located in the rural village of Sinthian in south-eastern Senegal, this cultural center and artist residency offers artists a diverse range of programs that provide the people of Sinthain opportunities to discover new forms of creativity and cultivate skills. The community center and artist residency functions as a hub for markets, education, performance, and gathering for the local community and artists in residence. The center and residency was constructed using only local materials such as bamboo, brick and thatch. The inverted pitched roof incorporates an innovative design using locally grown and harvested materials that provided a low cost and sustainable design. The thatched roof is capable of collecting 40% of the village’s domestic water usage during rainfall . The retained rainwater is siphoned into a reservoir where it is readily available for the needs of the community. It is also recycled for agricultural projects during Senegal’s eight month dry season. By utilizing the local materials for this project it provided a cultural and social extension for the people of Sinthian. The design is cost effective and easily maintained due to the obtainable materials located in the surrounding environment. The idea was to retreat from vernacular architecture to 21st century engineering while maintaining the use of local materials that the community is familiar with to create a piece of architecture that speaks to its local occupants.

All photos by Iwan Baan

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RESEARCH

51

OLD RUSSIAN CONSULATE

Program Title The Artist Residency in Hakodate

Location Hakodate, Japan

Interviewers Austin Ungerbuehler

Summary The Old Russian Consulate is a charming historical building located on the Mount Hakodate slopes. The project aims to enhance its potentials as a first class destination in the city. Surrounded by temples and at the edge of the Mount’s forest, its garden is a generous retreat and meeting place for artists inspired by the stupendous view toward the city bay. On the model of the Villa Medici in Rome, the Consulate will host an International Artist Residency in Hakodate. Artists will be hosted for a short to mid-term stay while creating pieces. The stay is concluded with the display of their work in the new exhibition rooms. Exchange between international and local designers is organized into workshops with top end equipment. A sharp, glass facade, reflecting the bay landscape and the consulate’s garden, creates a strong architectural gesture. The private artist residency program is dispatched on a strip along the south retaining wall. The five artists’ studios, made of solid wood panels, are composed of a working room with a terrace opening through the garden and a living room on tatami at mezzanine level oriented toward the south. Two small baths for artist concentration and wellbeing are embedded into the garden’s topography. Workshop skylights and the street shop complete the plan. A café conceived as a translucent winter garden offers a generous deck for events above the Hakodate famous scenery.

All photos by Lucien Puech

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RESEARCH

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FOGO ISLAND

Program Title Fogo Island Arts

Location New Foundland, Canada

Interviewers Karl Ndieli

Summary Fogo Island is an elemental place of subtle and abiding beauty, a place where time is not obliterated by the circulation of everything. Its people are inextricably bound to this place where they belong. They are a culturally rich and resourceful people who live in close connection with each other and with their people who have come before them. The Shorefast Foundation works with the people of Fogo Island to find ways to preserve this special place and this special culture. The five structures of the Fogo Island Arts represent one of the methods by which the culture of the Newfoundland natives are preserved and sustained. Designed by Saunders Architecture for the Shorefast Foundation, the project is the basis for an artist residency program that started in 2010. The studios are built in remote settings on Fogo Island in conjunction with traditional Newfoundland salt-box homes in various communities. The idea behind the forms of the various studios was to create a bold geometric structure to starkly contrast, yet lay silently in the strikingly harsh, natural environment. The studios are all oriented towards the sea and elevated above the ground to provide the resident artist with a feeling of being unobstructed and unbound. The materials and construction methods chosen reflect that of the local architecture of Fogo Island. The environment will leave its marks on the studios by weathering the structures over time.

All photos by Fogo Island Arts

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RESEARCH

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INSTITUTO SACATAR

Program Title Instituto Sacatar

Location Bahia, Brazil

Interviewers Amber Summers

Summary Through its Instituto Sacatar, centered on the Island of Itaparica in Bahia, Brazil, Sacatar supports residency fellowships for creative individuals of all nationalities and ages working within and across their respective creative disciplines. During their two-month residency period, Sacatar Fellows are encouraged and supported to utilize their creative practice to engage with the local Bahian communities in Salvador and Itaparica, resulting in rich intercultural collaborative exchanges that are shared through public programs locally and across the world. Since its inception in 2001, the Instituto Sacatar has hosted more than 300 residency Fellows from over 60 countries and has been involved with more than 400 community-based partnership programs and exchanges in Bahia and abroad. Sacatar is generously supported by public and private foundations, corporations, governmental agencies, and individuals like you. We welcome your support of and engagement with the ideals found in the practice of creative inter-cultural exchange and promoted through the Sacatar Foundation and its programs. Bahia embodies a dynamic, ever-evolving, and endlessly inventive culture inextricably linked to its natural environment, where indigenous, African, and European traditions and histories combine and cross-pollinate in rich complexity.

All photos by Instituto Sacatar

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ARTERRA ARTISTIC RESIDENCY

Program Title Arterra Artistic Residency

Location Tondela, Protugal

Interviewers Amber Summers

Summary This space for creativity and artistic training comes from a need for physical spaces where artists can meet and reflect on the art processes, and develop them in an intensive and focused way. The ARTERRA is a private initiative working since 2010. The artists find in ARTERRA a house with a series of facilities, and a “creation yard”, where there are several spaces and studios to create and develop an artistic work. They seek to provide artists and projects all the conditions for the development of the creative process. The ARTERRA has physical and technical conditions to be realized by several outbreaks of artwork, from design exhibitions, theatrical creation, studio, workshops and training. This program facilitates the communication with nature , to foster a dynamic group strictly for work in residence in a rural environment. ARTERRA’s goals include: to diversify and decentralize the cultural offer, and to develop training activities and contributing to the qualifications for the arts. This space is intended for professionals from different artistic areas, groups or independent creators, Portuguese and international artists. Artists can also receive exceptional training projects for the general public and for children.

All photos by Artist Communities

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NATIONAL PRECEDENTS

Artist residence programs are growing on a large scale and there are many more new programs popping up across the nation weekly. Some provide artists with the solitude and natural landscapes that stimulate creativity while providing them with space to explore and create. Rural and small town artist residencies are in high demand with growing interest on an international scale while more urban based programs focus on connection within a larger artist community. Every residency is unique in its charge and founding purpose and each provides an individual approach to the formation and social integration of these communities.

HOUSTON, TEXAS

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BELLAIRE, MICHIGAN

MADISON, MAINE

PETERBOROUGH, NEW HAMPSHIRE

SHANGHAI, WEST VIRGINIA

ATLANTA, GEORGIA

CAPTIVA, FLORIDA

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FOOD FOR THOUGHT

Program Title Rauschenberg Artist Residence

Location Captiva, Florida

Interviewers Evelyne Chokkattu

Summary Part of the enticement of a rural artist residency is its disconnect from the rest of the world. In order to sustain this separation from the urban environment the artist program needs to seek means of standing alone as a community. At the Rauschenberg Artist Residency, the Chef-in-Residence Program (CIR) was created in January 2016 partly in response to the resident artists’ appeal for fresh, locally-grown Florida food, and to prioritize the Foundation’s emphasis on environmental conservation and stewardship. The position as a CIR is for one year, beginning January. The chef prepares meals for the artists in residence, while continuing to implement and maintain sustainable practices and has the opportunity to pursue personal culinary interests and research.

This inaugural program aligns with the Foundation’s focus on environmental conservation and stewardship, stemming from Robert Rauschenberg’s long-standing concern for the safekeeping of the environment, the notion of individual responsibility, as well as a love of food and cooking. The selected candidate must have at least five years of experience working in a commercial kitchen, with a minimum of two years in management. Volland could consider expanding and utilizing the existing vegetable garden to its full potential and broadening the residency program to include culinary arts.

All photos by Rauschenberg Artist Residence

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CONNECTION TO NATURE

Program Title Crosshatch Center

Location Bellaire, Michigan

Interviewers Jonathan Eden

Summary Offered residency programs at the Crosshatch Center for Art & Ecology include performing arts, visual arts, design, writing, and the Edible Trails Project. It is the center’s goal to build strong communities through the intersections of art, farming, ecology and economy. Imagine our public spaces full of plants that produce an abundance of fresh, delicious food each year, edible forest landscapes of fruit and nut trees, berry bushes, and more. Imagine kids, adults, local businesses, and organizations all working and learning together to repair the ecosystem while increasing access to local, sustainable food. The Edible Trails Project exists to facilitate this transformation. Preservation Station, an enclosed cargo trailer that unpacks into a high-efficiency, three-season food preservation kitchen and workshop space is able to travel to different locations and venues. The trailer can be pulled onto farms, community gardens, farm markets or your own backyard for canning classes. Preservation Station is currently outfitted for hot water bath canning of high acid foods, as well as pickling, fermenting and jellying. In the future, the trailer will include equipment for pressure canning, meat curing, drying, freezing, smoking and other traditional preservation techniques. Artists who are selected for this residency program are encouraged to participate and learn in these interactive events to increase their knowledge on the importance of sustainability and ecology.

All photos by Crosshatch Center

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CONNECTION TO SOCIETY

Program Title Macdowell Colony

Location Peterborough, New Hampshire

Interviewers Aoran Zhang

Summary MacDowell Colony is one of the oldest artist residencies in America, and it is located at Peterborough, New Hampshire, with a pleasant view of Mount Monadnock to the west. The mission of The MacDowell Colony is to nurture the arts by offering creative individuals of the highest talent an inspiring environment in which they can produce enduring works of the imagination. MacDowell is well connected with the society in a way that people can always learn about events and activities through multiple forms of social media. This is significant to Volland since it is located in an isolated place and since it will be a new program there will be a need to get the word out for more artists to become interested. As for the colony, artists are getting information from social networks, like Twitter, Facebook, and Vimeo. These platforms are continuously updated by showing the latest activities and highlights of the artists’ lives there. Updating is necessary so that it doesn’t feel inactive to the public. Their website is well organized, and audiences can easily find everything they need on the website. Also, their web page on Alliance of Artist Communities is easy to find which helps them promote their brand.

Photo on Left by: Paul Rocheleau Photo on Top provided by MacDowell Colony

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SKOWHEGAN SCHOOL

Program Title Skowhegan School of Painting & Sculpture

Location Madison, Maine

Interviewers Nicole Bauknight

Summary The Skowhegan School was established in 1946 by four artists that desired to create a space for art development and cross collaboration between art fields. The school has since become a haven for artists of diverse medias to come and develop his or her art while receiving feedback from professionals and their peers. The summer residency hosts 65 students from diverse backgrounds for nine weeks. The residency sits on 350 acres of historic farm land with a nearby lake and woods to enjoy. Each artist gets their own studio space with access to multiple open studio creation spaces and a well stocked library. During their residency, established artists come for one week visits to give individual critiques as well as a lecture aimed at furthering the residency artists education. The program is designed around fostering peer collaboration in order to advance the artists’ individual creations. Artists come without a preconceived program and leave with works of art that are stronger because they were created in community. At the end of the residency the artists get the opportunity to showcase the art that was made during the residency in downtown New York. This is an invaluable opportunity for growing artists to establish themselves as professionals and become recognized by well known art figures.

All photos by Skowhegan School

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NORTH MOUNTAIN ARTIST RESIDENCY

Program Title North Mountain Residency

Location Shanghai, West Virginia

Interviewers Angel Llanes

Summary North Mountain is located on 400 mountainous acres of apple orchards and woodlands in the Eastern Panhandle area of West Virginia, near the small town of Shanghai. From the middle of the 19th century until the beginning of the 21st, the property was one of many active apple farms in the region. Now dormant and unkept, the apple trees of the orchards primarily feed wildlife, along with the occasional passing resident. Walking trails on the property lead to old orchards, a pond, and forests of oaks, maples, and sycamores. In addition to the grounds, the residency maintains a library with collections of literature and reference; graphic arts, typography, print making, and photography; architecture and urban planning; and ecology and Appalachian culture.

The residency is focused on trying to increase equity and accessibility in the arts for those of different backgrounds, perspectives, and practices. This goal is achieved by privileging certain types of applications through a jury and curatorial process. They are also strengthening their connections within the cultures and ecologies local to West Virginia’s Eastern Panhandle. They highly encourage their residents to focus on the geography, culture, and ecology of the site. In doing so they also work in collaboration with neighboring organizations to curate, direct, and facilitate research at the residency. They currently provide residents and staff with comfortable living and working space, access to material resources, research assistance, documentation, and opportunities to publicly share their work.

All photos by North Mountain Residency

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CREATIVE COMMUNITY

Program Title The Creative Community Housing Project

Location Atlanta, Georgia

Interviewers Amber Summers

Summary The Creative Community Housing Project’s mission is to enrich and strengthen local communities through quality arts-based education and outreach, while celebrating and elevating the city’s visual and performing artists. The community functions as an open network where artists interact daily, collaborate, and build diverse connections. Each resident artist also receives customized professional development workshops and teacher training sessions. This platform not only enables artists to create powerful pieces, but also to become advocates of social change and educational leaders in their respected fields. In exchange for housing and training, artists give back to the local community through Community Arts Programs. The Creative Community Housing Project is a vital force in Atlanta’s arts community. TCCHP strengthens and unites arts, education, community, and commerce by creating an arts ecosystem that empowers eager citizens to recognize Atlanta’s potential. TCCHP patrons donate subsidized housing and free studio space to support the artists as they serve in Atlanta neighborhoods to generate vibrant and fertile communities poised for economic growth and development. They encourage the learning and teaching among peers who specialize in different forms of expression. Upon acceptance into the program there is opportunity for the artists to join a mentorship program. This links an emerging artist with a more established local artist to share knowledge and to create the most powerful collection as possible.

All photos by Creative Community Project

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PROJECT ROW HOUSES

Program Title Project Row House

Location Houston, Texas

Interviewers Lucas Downes

Summary Project Row House (PRH) is an artist residency rooted in the Third Ward in Houston. Founded by Rick Lowe and a group of colleagues and friends, it is a residency immersed in the culture and history of the neighborhood. It is that exact community that directly influences the work produced by the artist residency. Though the program was only founded in 1993, it is nestled in one of the oldest African American communities in the city affording the residency a historically rich neighborhood. PRH holds two biannual events each year, one starting in March and the other in October, which they call Rounds. The Rounds last 4 months and are held in a series of seven Row Houses that are opened up to the public for viewing. These Rounds help connect the community and keep the town’s history thriving. Round 45 demonstrated the historical focus of the Residency. This Round consisted of seven different artists deeply rooted in the artist community in Houston. The artists produced work acting as a narrative for the culture, place and identity of African Americans in the neighborhood. Each of these 46 Rounds are all different in artist, media, and delivery method, but they are all intended to help the area’s culture and history continue to flourish.

All photos by Project Row House

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RESEARCH Marquette, Nebraska

Volland, Kansas

Matfield Green, Kansas

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Kansas City, Missouri

REGIONAL PRECEDENTS

Kansas City, Kansas

There are several established local artist residencies surrounding our project site.

Researching them was imperative to gaining knowledge on how these residencies could influence our project directly and indirectly.

Since every program is distinct in its goals and attributes, these residencies are located anywhere and everywhere. The strong focus of each new program is to define what makes them special whether this be the location, operation, or atmosphere. They each flourish in their own characteristics and will draw attention based on its most unique aspects.

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THE ART FARM

Program Title The Art Farm

Location Marquette, Nebraska

Interviewers Tanner Lopez

Summary Art Farm is a compilation of 17 buildings that were salvaged from nearby farms. Central to Art Farm is a 12,000 SF barn complex. A project lasting seven years has joined them into one unit. The barns range history and character which tells a visual story of the owner’s attempt to adapt with the changing times. These structures follow the tradition of vernacular architecture in the region based on programmatic observation and function.

Barn builders adapted a plan and a shape from a general concept and then individually modified it to serve their needs. Using this same practice as a model, the work at Art Farm includes restoring, repairing, and converting barns for living and studio space. Art Farm is located in Marquette, Nebraska, 80 miles west of Lincoln, Nebraska. The nearest shopping centers are Aurora (12 miles south) and Central City (12 miles north). The population of Marquette is around 230 people. The landscape varies from flat, to gentle rolling hills, to shallow wetland basins mainly hidden by cornfields. Two miles north of Art Farm is the Platte River where the flat landscape changes into clay bluffs. There is not much elevation change for miles allowing one to look up and experience the basic forces of nature.

All photos by The Art Farm

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PRAIRIESIDE COTTAGE & OUTPOST

Program Title Prairieside Outpost Artist Program

Location Matfield Green, Kansas

Interviewers Kaydee Seematter

Summary The Prairieside Outpost Artist Program is located near Matfield Green, Kansas, which resides in the heart of the rolling Flint Hills of Kansas where it serves as an artist retreat. The Outpost portion of the program includes a studio that is located adjacent to the house where visiting artists have a space to create. The cottage and outpost space are surrounded by eight acres of land, which allows for the visiting artists who typically live in an urbanized environment to be able to isolate themselves into the beauty of the surrounding landscapes. Like the Volland Store, Prairieside Outpost Artist Program works in conjunction with the Tallgrass Artist Residency to provide its invited artists with an opportunity for connection within the Great Plains of the Midwest. Prairieside Cottage + Outpost invites in artists of varying mediums and allows them to have a peaceful, nature oriented experience. The Tallgrass Residency Program seeks to create connection and conversation across the Great Plains by inviting applicants who currently live in a place that is ecologically considered prairie even though they might be urbanized. Since there is only a fraction of the unique tallgrass ecosystem remaining, the Tallgrass Residency Program helps to educate through the impacts that it has on the artists, their works, and getting presented to surrounding communities.

All photos by Prairieside Cottage

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LAWRENCE ART CENTER

Program Title Lawrence Art Center

Location Lawrence, Kansas

Interviewers Amber Summers

Summary The Lawrence Arts Center offers a 12-month artist residency program to select artists in ceramics and print making. They also offer shorter term project based residencies throughout the year. The visiting and resident artists program at the Lawrence Arts Center offers community members a unique opportunity to study visual arts with practitioners of varied backgrounds and diverse skills. New artists are invited each year to become a part of the Lawrence community and share their professional skills with Lawrence Arts Center students and artists. These 12-month programs are designed to provide a creative and supportive environment in which artists may immerse themselves in creating new work and expanding their own understanding of their medium and other media available at the Arts Center. The residencies are a multi-faceted experience including teaching, community outreach, interaction with other artists, and studio care, and culminate in an exhibition of new work. The Lawrence Arts Center, built in 2002 and located in downtown Lawrence, Kansas has 40,000 square feet of programming spaces. The Center’s mission is to enrich individuals and the community by nurturing a love of the arts through education, exploration, and expression. The facility consists of five exhibition galleries, a 300 seat theatre, two dance studios, two arts-based preschool classrooms, seven visual arts studios. The Center, sustained by a thriving membership program, offers programs to the public and all visitors to Lawrence, attracting 100,000 people annually.

All photos by Lawrence Art Center

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KANSAS CITY ARTIST COALITION

Program Title The Kansas City Artist Coalition

Location Kansas City, Kansas

Interviewers Amber Summers

Summary The Kansas City Artists Coalition (KCAC), an artist-centered, artist-run alternative space, brings artists from around the world together in order to build friendships and improve inter-cultural understanding. Artists are provided with a supportive environment, time, and a large studio space to create art that others in the Kansas City community will be able to view and/or learn. The program seeks to enrich the resident artists’ experiences by encouraging travel and the importance of inter-cultural connections, promoting the value of exchanging ideas among art-producing peers. The program seeks applications from dedicated artists who create visual artwork (of any medium) of exceptional quality, and whose work and career are at a level to benefit from an international exchange with peers. The program is especially geared toward artists from abroad who have never before worked in the United States. This program will provide time and space for at least four weeks of residency (and up to 3 months of residency).

International visual artists will receive priority for the residency.

All photos by KC Artist Coalition

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CHARLOTTE STREET FOUNDATION

Program Title Charlotte Street Foundation

Location Kansas City, Missouri

Interviewers Amber Summers

Summary Charlotte Street’s Studio Residency Program advances the organization’s vision of Kansas City as a dynamic home for artists in various career stages and disciplines to thrive, while serving as natural catalysts for an exciting, innovative, and culturally rich city. The residency provides free studio work and rehearsal space, and related support that enables exceptional artists of all disciplines to advance their art practices and artistic careers. Over the past fourteen years, Charlotte Street Foundation’s Studio Residency Program has supported the development of hundreds of artists. Artists accepted into the one year residency term have access to the studios beginning each September. The residency studios are housed in a re-purposed corporate office space on the 6th floor in Town Pavilion, which is located in downtown Kansas City, Missouri. The artist studios include dedicated spaces for visual artists, writers, and performing artists (composers/musicians, choreographers/dancers, theatre artists). Each resident has constant access throughout the term. The program aims to support creative production, artistic experimentation and collaboration, professional development, and close connection and exchange among the multi-disciplinary community of participating artists. Components include annual open studios, exhibition and performance opportunities at Charlotte Street’s other venues, monthly all-resident group meetings with guest presentations, studio visits, and mentorships.

All photos by Charlotte Foundation

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ARTIST & RESIDENCY INTERVIEWS

Pictured Left: Works from Vintage American Quilts

Collection by Elizabeth Wilson Photos provided by: The Volland Store

In order to form a creative environment that influences artists, it is vital to gain an understanding of the way they work, think, and see the world around them. Multiple artists have been interviewed and given insight into their lives and work. From this information, a more interesting, impactful, and effective residency can be designed. We reached out to curators, program administrators, and a variety of artists to garner this valuable insight.

Every artist residency allows for the free expression and creation of artwork in it’s own unique way.

Expectations and requirements vary greatly; however, it is the relationship between the resident and the host that is often an important aspect of a residency program. They provide a time of reflection, research, presentation, production and immersion into a new culture while often allowing an individual to explore

their practice within a new flourishing community.

Some residency programs are incorporated within larger institutions such as museums, universities, galleries, studio spaces, theaters, artist-run spaces, municipalities, governmental offices, and even festivals. Many others are independently operated entities that provide their own interpretation of a residency program.

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PATTY REECE The Volland Store

Title

Founder of The Volland Store

Occupation

Artist, Teacher, Philanthropist

Other Accomplishments Founder & Manager of Warnoll House Retail Store Chairman of Harris-Kearney House Board Exhibit Director and Chairman of Society for Contemporary Photography Board on Board of Symphony in the Flint Hills

Interviewers

Summary

Nicole Bauknight Lucas Downes Angel Llanes Amber Summers

Peers from the Design+Make Studio had the opportunity to interview Patty Reece. Without Patty, along with her husband Jerry, the mere existence and condition of Volland, Kansas, would still be in disarray. After coming across the store for the first time, they both realized the potential the store possessed.

The walls, made up of brick, were in exceptional condition, and the building itself was an anomaly in the vernacular architecture of Kansas. Hesitant at first to rehabilitate the town, Patty and Jerry kept their interest in the property. It was the Symphony in the Flint Hills that brought further light into the Volland Store and its history. Learning of Otto Kratzer’s photography, the images bolstered their passion for the history of the store and the town. Ultimately, it was this passion that delivered the property to them, placing Patty and Jerry into the very history of Volland that intrigued them from the beginning.

Graduating from the University of Oklahoma with a degree in French and minor in History, Patty later went on to University of Missouri-Kansas City to obtain a Masters in Education. Although she never received a teaching position, she substituted for teachers on occasion. Though teaching never caught on for her, Patty spent much of her time volunteering. She first started working with People To People and the Pi Phi Alumni Club. Through her three children she found more organizations to volunteer for, including United Way, Boy-scouts, PTA, and Junior League. After her children moved on from their activities, she helped manage and create a retail store that acted as a fundraiser for the Warnoll House. The Warnoll House Retail Store, coupled with a chairman position in the Harris-Kearney House, started Patty on her path of historic preservation. Through her interest in photography, she became involved in the Society for Contemporary Photography in Kansas City serving as their Exhibit Director Chair. After going on to practice photography for some time, Patty joined the Board of Symphony in the Flint Hills, serving during their second year until their tenth year of existence. Patty later found the Nature Conservancy and finally, the Volland Store.

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ABBEY BLAKE Print Making Artist

Title

Art Student

Occupation Graduate Art Student

Other Accomplishments Has attended multiple artists residencies

Interviewers Nicole Bauknight Angel Llanes Amber Summers

Summary Abbey is a young developing artist whose medium focus is the abstraction of environments through printmaking, and robotics. She is currently finishing her collegiate education, which brought her to the Tallgrass residency program, located in Matfield Green. She seeks residencies that take place during her school breaks and do not disrupt her responsibilities in her home setting. She explained that the location of the residencies in which she has attended is important to her which, in many cases, she draws inspiration from unique natural settings to provide ideas for her future pieces. She has completed two residencies in her short career, one in the Flint Hills of Kansas and one in a mountainous region of Chile. She spoke about both of these experiences with the same level of appreciation and merit. From her point of view, residencies that are a unique, once in a lifetime experience spark curiosity and encourage exploration for her work. Her fascination with nature and the outdoors has established her creative work in the natural environment and allow her to experience new regions and social interactions.

Tallgrass provided a special experience because it was her first time visiting the rolling prairie landscape of Kansas, which in turn influenced the artwork she created during and after the residency program. At the current stage in her career, the time spent at Tallgrass was the proper amount for her, because it allow inspiration and thought provoking experiences, as well as influence for the creation of works after the residency period. Another major positive experience for her was the isolation and independence that the residency program gave her. She wished that the program would have focused more on community outreach; however, she enjoyed coming back months later to showcase her work at The Bank Art Space.

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HESSE MCGRAW Artist Curator Principal at Eldo

Title Partner at el dorado inc

Occupation Curator

Other Accomplishments Chief Curator Bemis Center in Omaha, NE Founding director and curator of Paragraph KCMO

Interviewers Jonathan Eden Angel Llanes

Summary Hesse, a renowned artist, curator, and critic, is currently a partner at el dorado inc in Kansas City, Missouri. He has worked closely with many upcoming and accomplished artists. From 2008 to 2013 McGraw served as chief curator at the Bemis Center for Contemporary Arts in Omaha, Nebraska, where he developed an exhibition program focused on site-specific, immersive, cross-disciplinary, and socially engaging projects. The exhibit has included major projects with artists such as Theaster Gates and Michael Jones McKean. He holds a Bachelor’s of Fine Arts from University of Kansas and a graduate degree from European Graduate School in Saas-Fee, Switzerland. Hesse serves as a consultant on artists and artist residency programs to Patty Reece and el dorado inc. His expertise with artist residencies makes him invaluable in the organization and programming of the potential Volland Institute residency program.

Some insights provided by Hesse on residencies include: engagement of local artists, curator expectations, connection between artist and community, scale, and place making. The major attributes of the residency must include community events and engagement through food and social interaction such as art talks, open studios, Pecha Kucha (brief 6 minute) presentations, and/or gallery events. To foster community engagement with the artist, many programs utilize food as a bridge for social interaction with the creators. He notes that the most successful programs provide stipends for their residents. These funds can be raised through a variety of sources including grants, application fees, and private donors.

Many artists in resident produce their best work by being provided freedom without expectations and the ability to explore their creative potential through various mediums. He explains that the outreach to communities should be lightly structured to allow for impromptu interactions. In his vision for Volland, the environment needs to become a destination by creating density. He recommends between six and eight artists to be in residence at a time to create this atmosphere. Through phasing the program can eventually reach this scale of on-site residence. To create place, Volland requires amenities as it acquires residence over time. These amenities may be subject to the types of artists Volland attracts, regardless of their level of expertise.

1

“Hesse McGraw.” San Francisco Art Institute, SFAI, www.sfai.edu/bios/hesse-mcgraw.

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COREY SMITH Performance Art

Title Artist

Occupation Digital Marketing

Other Accomplishments Performance Exhibitions in Chicago

Interviewers Nicole Bauknight Angel Llanes Amber Summers

Summary Corey is a young artist, based in Chicago, whose main medium is interpretive, theatrical performances. Corey explained the challenge of transportation to the isolated residency, indicating that this is the main issue for many artists who may not have the funds to visit a residency such as Tallgrass. His art was inspired by the residency, itself, rather than the work produced during the residency. He found that the residency fit within a larger community outreach project that he has been working on for multiple years now. He expressed that his time at the residency was lonely but not debilitating, as it allowed him to experience the landscape surrounding Matfield Green. Though interaction with his surroundings was impactful, he was not able to interact with many residents of the Matfield Green community. An important characteristic of Corey’s artwork is its relationship between art, culture, and the place where art is created. He also noted that the short time span of the Tallgrass residency provided good pressure to encourage the development of his work and allowed him to integrate it into his professional work schedule.

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LEVI ROB Artist & Architect

Title Independent Artist

Occupation Architectural Project Manager

Other Accomplishments Frenetic Pause Exhibition at The Volland Store Flint Hills Installation - Alma, KS

Interviewers Karl Ndieli, Tanner Lopez

Summary Levi Robb is an artist from Des Moines, Iowa, specializing in printmaking, sculpture and installation. Having spent a fair amount of time in Volland, Levi had a couple of things to say about creating in the Flint Hills. He was attracted to the small-world feel of the Wabaunsee community because it reminded him of his small town origins in Iowa. In terms of maximizing the aesthetic of the surrounding landscape, Levi thinks that the buildings on the site already pay sufficient attention to the context of the environment. The way the structures complement the area in such a historically accurate aesthetic is valuable when it comes to comprehending the context and character of Volland. As a result of his site specific work, Levi feels that Volland could be a gold mine of subject matter for any artists interested in contextual work.

Levi responds to the spatial conditions he comes across through observation and analysis. Context, people, and setting are of the utmost importance when he searches for residencies, along with the opportunity to interact with various artists of different mediums. Creating an avenue for optional seclusion while simultaneously fostering the opportunity for interaction is valuable to creating a strong residency experience. In terms of accommodation, the amount of comfort provided to an artist would directly depend on the length of the artist’s stay. However, no matter the length of the artists stay, accommodations (like natural lighting and sufficient space) should be included to ensure that the artist is able to fully express themselves.

While preferences vary, most artists don’t seem to mind creating in their living spaces. This eagerness to work could be greatly strengthened by providing a workshop in close proximity to one’s living space.

Considering how remote Volland is, provisions need to be made to ensure the artist’s creative process is not hindered in any way. Streamlining the process of receiving the materials needed to work would be extremely beneficial to the functionality of the entire residency. With the current gallery space in the store, it’s a little challenging to ensure that displayed works are appropriately lit. To combat this, augmented lighting in an entirely different space may be a solution. In conclusion, the most important aspect of Volland is it’s context, the people, and how or where they live. The final aim of the created program should be to further foster that sense of community that is already so neatly stitched into the community.

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DEREK & KATHERINE HAMM

Title

Coordinator at Tall Grass Artist Residency

Other Accomplishments

Coordinator of Tallgrass Artist Residency

Occupation

Designer/Curator

Manager for the Bank Art Space

Interviewers

Nicole Bauknight Angel Llanes Amber Summers

Summary Derek and Katherine Hamm took over management of The Bank Art Space in 2016 and have been acting as coordinators and curators of the gallery. The Bank is an inviting place where locals, travelers, and visitors meet. They are accompanied by fresh coffee, internet access, and contemporary art on display.

Derek and Katherine are both native Kansans, graphic designers, and enjoy living in the prairie. They love sharing the experience of the prairie with other artists through the Tallgrass Residency Program. Their involvement with the Tallgrass residency is an extensive management position where they provide residents with lodging information and coordination. They also organize artist events with the Tallgrass Prairie National Preserve, and provide general hospitality support for the artists. The program’s lodging is channeled through local AirBnB and vacation rental housing by the allocation of funding from Tallgrass. This provides ample living space for the artists throughout the duration of the program. They also provide transportation, reimbursement costs and a stipend given to the artists. Derek and Katherine act as local guides for the residents during their stay, pointing them to inspiration and connecting them with local people that are beneficial to their works. They are an essential part to the day-to-day operations of the Tallgrass Artist Residency and look forward to their growing involvement within the program.

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KELLY YARBROUGHFRASIER

Tall Grass Artist Residency

Title

Tallgrass Artist Residency

Occupation Artist

Other Accomplishments

Founded the Tallgrass Artist Program in 2015

Interviewers

Nicole Bauknight Angel Llanes Amber Summers

Summary Kelly is an artist educator who founded the Tallgrass Artist Residency in Kansas. Her efforts on the residency program has brought a major grant from the Kansas Creative Arts Industry Commission to fund the Tallgrass program. She has a long history of creating art and working as an educator at Kansas State University, where she also obtained her master’s degree in fine arts. She has held a variety of exhibitions throughout the Midwest and has proven her capabilities as a residency director with the increasing popularity of the Tallgrass program. As a native from Plano, Texas Kelly found herself in Manhattan, Kansas and was surprised by the activity going on in the region. Her residency program resulted from the partnership with the small town of Matfield Green and the Tallgrass Prairie National Preserve. Tallgrass Artist Residency functions on an annual bases that brings around eight to ten resident artists in the Spring and into the Fall. The program starts around late March or early April and runs through September with closing events that hold group exhibitions and talks with the artists. Tallgrass brings artists that are currently living in a what is ecologically defined as a prairie. It ranges all across North America and even into Canada. Their first year as an artist residency, Tallgrass received roughly 30 applicants, which then jumped to 99 applicant in their second year. This past year the applicants came from a wide range across the US, with applicants from 16 different states and some from Canada. The Tallgrass Artist Residency program is a young but flourishing program that will continue to expand and become more successful through the coming years.

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LAURA BERMAN Prairie Side Cottage

Title

Prairieside Cottage and Outpost

Occupation Artist

Other Accomplishments Kick started the Prairieside Program in 2014

Interviewers

Keegan Amos Dipen Patel

Summary Laura Berman, along with her husband, is the founder and director of the Prairieside Cottage and Outpost located in the Flint Hills of Kansas. She is a native of Barcelona, Spain, where she discovered her love for pattern, design, and bold colors. Her work primarily focuses on the relationships and combination of forms that relate back to her nomadic history of relocation and travel. Laura’s work has been featured in many books such as The Book of Probes by David Carson and Marshall McLuhan, Printmaking at the Edge by Richard Noyce, Contemporary American Printmakers by Roone, Standish, and A Survey of Contemporary Printmaking by Ehlers, Ehlbekc and Muise. Prairieside Cottage and Outpost started in 2014 operating as a two-tiered business, which allows artists to attend but also openly invites regular families to rent the space as well. During their first year in business there wasn’t any applications to fill out, relying only on word of mouth to bring in an artist residence. Networking played a large role in the program’s early functionality. It wasn’t until after the first two years that Prairieside began accepting applications for year long periods. Prairieside Cottage is an experimental artist residency and, at the time, they allowed artists to attend for free or at a reduced price. The Prairieside Cottage and Outpost also partners with the Tallgrass Artist Residency.

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RESEARCH

SHREEPAD JOGLEKAR Photography Professor

Title Associate Professor of Photography

Occupation Photographer

Awarded Artist Residencies National Center for Contemporary Art, Kronstadt, St. Petersburg; Weir Farm National Historic Site, Branchville, CT; the Millay Colony for the Arts in Austerlitz, NY; A.I.R. Studio in Paducah, KY.

Interviewer

Summary

Aoran Zhang

Professor Joglekar is a lens based artist from Mumbai, India. Having spent extensive time at four artist residencies, he felt that a month is a relatively suitable amount of time for an artist residency. However, it may vary between disciplines. Most of the residencies that he attended encouraged interactions between artists of different mediums. During his four week stay in St. Petersburg, there was a flow of at least two different artists in and out of the studio during his stay to encourage collaboration across mediums. He finds that this type of program strengthened the artist residency as a tool for networking.

In his experience, isolation provides a break from the day to day environment, and for an artist, this can be crucial to really understand what your work could become. He also noted that when you’re in the environment that you’re familiar with, you may be oblivious to the connections in between your ideas, which you begin to identify outside of your normal environment. It gives you the opportunity to look at your work from a different perspective.

Photographers are often attracted to places that can become a hub for traveling around. Joglekar stressed the fact that a place is always different before reading, watching, studying and physically experiencing the environment. Part of the artist residency experience is immersing yourself in that new environment, becoming familiar with the local life and interacting with the people who live in that part of the world.

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SITE ANALYSIS

LOCATION

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DEMOGRAPHICS

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CONTEXT DIAGRAMS

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MATERIALITY

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SITE ANALYSIS

Interstate 70

I-3

35

Volland, K

In te rs t

at e3

5

I-135

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LOCATION

KS Volland, KS Major Hwy Network Minor Hwy Network

The town of Volland is located between Alma and Alta Vista, about 20 minutes south of I-70. The original Volland Store was established as a place for commuters of the railway to stop for refreshments along their journey. Located in the rural Flint Hills of central Kansas it is among the few towns that embrace the tallgrass prairie.

Volland Kansas is located just 10 miles from I-70 Hwy which is a major interstate that runs East to West across Kansas, connecting the state to nearby Missouri and Colorado. It provides a fast route to major cities such as Kansas City with speed limits of 75 MPH. Other interstates include I-35 and I-135 that is 24 miles long that connects other highway junctions to cities such as Wichita, Emporia, Manhattan, Dodge City, Garden City, etc.

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SITE ANALYSIS

Volland, K 20 miles

40 miles

100 miles

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MAJOR TOWNS AND CITIES

KS TOPEKA, KS

EMPORIA, KS

127,000 POPULATION 45 MILES 50 MIN DRIVE 24,800 POPULATION 60 MILES 75 MIN DRIVE

WICHITA, KS

390,000 POPULATION 123 MILES 129 MIN DRIVE

KANSAS CITY, MO

480,000 POPULATION 110 MILES 107 MIN DRIVE

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SITE ANALYSIS

Manhattan

Junction City

Alma

Volland

Alta Vista

Council Grove

35 to 40 minute drive

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LOCAL TOWNS

MANHATTAN,KS

55,000 POPULATION 26.5 MILES 40 MIN DRIVE

JUNCTION CITY, KS

24,000 POPULATION 33.7 MILES 45 MIN DRIVE

ALMA, KS

792 POPULATION 10 MILES 15 MIN DRIVE

ALTA VISTA, KS

422 POPULATION 9 MILES 17 MIN DRIVE

COUNCIL GROVE, KS

2,000 POPULATION 25 MILES 35 MIN DRIVE

LAKE WABAUNSEE, KS

6,891 POPULATION 19 MILES 30 MIN DRIVE

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SITE ANALYSIS

DEMOGRAPHICS KANSAS Median Age - 36 years Household income - $50,972 House Value - $129,700

Gender Demographics

Racial Demographics

Females (50.6%) Males (49.4%)

Caucasian (83%) Hispanic (10%) African American (5%) Other (2%)

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ALTA VISTA

ALMA

Median Age - 40.4 years Household income - $42,484 House Value - $53,638

Median Age - 38.6 years Household income - $37,733 House Value - $88,689

Gender Demographics

Females 214 (49.1%) Males 222 (50.9%)

Racial Demographics

Caucasian 418 (94.1%) Hispanic 19 (4.3%) Other 7 (1.6%)

Gender Demographics

Females 443 (54.4%) Males 370 (45.6%)

Racial Demographics

Caucasian 783 (94.1%) Hispanic 31 (3.7%) Other 18 (2.1%)

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SITE ANALYSIS

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SITE CONTEXT

Volland Store Houses Additional Buildings Out Buildings Blacksmith Shop Potential Additions

Almost all of the houses are oriented towards Volland Road, with the Volland Store and its supporting buildings breaking that rule. They are facing the railroad tracks, in a way pointing towards Volland’s humble beginnings.

Currently the most activated part of the property is the immediate area surrounding the Volland Store. When arriving and leaving, the parking area itself is an informal meeting place. After having arrived, visitors proceed to events and exhibits that normally take place in the store and occasionally in the blacksmith shop. Lawn chairs under an awning at the South entry of the store provides a seating area boasting a gracious view to the south and activating the lawn between the store and the surviving ruins of the old Kratzer House.

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SITE ANALYSIS

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ROAD NETWORK

Old K10 Road Volland Road Property Boundaries Existing Structures Railroad Track

The most common approach to Volland is from the north, turning from Old K-10 onto a gravel road, passing the houses to the west along Volland Road and turning into a gravel parking area on the north side of the Volland Store.

Parking on the street is typically avoided to keep the road clear for farming vehicles or tractors to pass by. The houses are a short walk north of the car park.

This approach does not allow visitors to experience the front facade of the Volland Store which was once the front of the town.

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SITE ANALYSIS

The Volland Store

The Store is one of the only brick structures that exists in the surrounding area. It was renovated in 2015 by our client & is a testament to the success of an artist residency in a small town.

The Railroad

The railroad is the reason why Volland exists.

Although the trains no longer stop here, the sound of the trains flying by still help provide life to the town.

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House #1

This house is the focus of our studio this year as we convert this 1920s kit house to a living quarters that will house a future artist residency program.

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SITE ANALYSIS

MATERIALITY

LIMESTONE Limestone is a key feature for the Flint Hills area and is present in Volland as an influence of context. Although limestone is abundantly used throughout the region its use in Volland is currently minimal.

Usage includes non-structural elements such as the newly built flower bed and the existing retaining wall.

WOOD SIDING The wood siding found on all the support buildings is natural exposed wood, adding an additional layer of natural materiality to the overall character. Consideration should be given to the type of wood used for possible future material palettes. The wood siding found on the existing houses is painted white, making these structures cohesive elements of the same architectural vernacular.

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IRON The railroad, being an important feature of Volland, echoes the historical character to the site through it’s combination of wood and iron elements.

RED BRICK Found on the exterior facades of the Volland Store, the original brick is part of the existing historical character of the town. The store is the only red brick building in all of Wabaunsee County. This material should be respected in future material considerations since it is so special to the enduring Volland Store.

STEEL & GLASS The incorporation of steel and glass in the restoration of the Volland Store adheres to the historical character of the time period of Volland’s establishment while incorporating a modern aesthetic.

Future material consideration could include continued use of these two materials.

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PROGRAMMING

OVERVIEW

119

SWOT ANALYSIS

126

RESIDENCY ELEMENTS

129

HOUSE #1 CONDITIONS

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PROGRAMMING

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THE BEGINNINGS

Our journey began with acquainting ourselves with Volland and researching our project topic: artist residencies. These initial steps were broad overviews of information on Volland as a town, culture, and place; as well as understanding what an artist residency program includes. This place making and precedent study was our first introduction into the project at hand and was our first attempt at gathering applicable information that would guide us down the right path to the final design proposal.

As our research continued to mature and be refined, they led to more investigation into Volland’s culture, history, current state of affairs, community, site and existing structures. This research informed ideas on how an artist residency could work in the rural community

of Volland. We began conducting indepth research into residencies from around the world, extracting traits that could be translated and applied to this specific site.

With the knowledge of Volland secured and a firm grasp on the variety of artist residencies that exist, we started to critically think about what aspects of artist residencies Volland required to be successful. The initial, preconceived program included housing and space for multiple artists, support spaces like studios and workshops, as well as communal spaces such as kitchen and library.

Though this was not the finalized program, it helped us understand the possibilities of what Volland’s artist residency could become in future expanding phases.

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PROGRAMMING

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CONNECTING WITH VOLLAND

To confirm what programmatic elements were necessary to our specific design problem we visited a local artist residency and conducted interviews with artists, coordinators, art curators and members of the local community.

Our goal was to understand, from their perspectives, which quality elements of an artist residency program could better inform and refine the program for Volland. These interviews gave insightful perspectives that allowed us to refine the needs and spaces of our program, ultimately leading to a more successful project.

At this stage, an understanding began to form about how the program is influenced by the existing structures on site. Ideas were presented on how the program could be dispersed throughout the three houses on site working together as a campus.

Production of schemes toggled

back and forth between individual design concepts and group design development. Working on both individual and collective levels we produced a broad range of ideas to be explored, as well as the grouping of similar ideas to make them stronger.

In order to successfully implement designs in the houses, the documentation of each house in detail, recording dimensions, heights and topography specifics, better informed the design process. The culmination of research, design, and collaboration resulted in a Test Fit of the program which comprised of placing each design scheme into the houses and showing how the program would fill the gaps of Volland’s culture. These schemes showed how the program would function and impact the community.

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PROGRAMMING

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TUNING INTO VOLLAND

Tuning Devices were the first thinking tool used in our quest to understand Volland. The purpose of a tuning device is to get a better and deeper understanding of place that, in turn, leads to a design intervention meant to reflect the environment and amplify it. This activity began with our initial analytical research of Volland which informed us on how to create a design that develops the character of Volland while serving a necessary function. Individual proposals were produced with these objectives in mind.

As the tuning devices were resolved into a final few categories, the proposals were planned and moved to an implementation stage. Of these, only two advanced on to further design development. The lighting study came

to fruition and was presented to a group of Volland Board members and became a provocative success.

The remaining device, The Signal, required some more research on how it could be executed to its fullest potential. In maintaining the unique material palette of Volland, The Signal is imagined to be constructed out of bricks. The studio began stacking bricks in order to become familiar with the material. This practice revealed further understanding of how bricks function, their limitations, and their possibilities. Valuable lessons were gained through this exercise that informed the continued design of the signal. The realization of the signal has not yet become a reality, however it is still in design development, pending finalization and completion.

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PROGRAMMING

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DISCOVERY & CONCLUSIONS

After presenting to the Volland board, the master plan of the Volland Institute program was reduced from three house proposals, down to the northernmost structure. The refocusing of the project scope was reduced to the realistic time constraint of the Design + Make studio. Focusing solely on House One allowed the Design + Make Studio to create and accomplish a high quality project. This focused direction encouraged the measurement of the North House in explicit detail and the conducting selective demolition of certain components to determine the properties and structural integrity of the house.

During the exploratory demolition, it was discovered that the house was most likely a 1930’s kit house. Markings found on the wood studs indicated that the house was purchased and brought to Volland via the railroad as per common practice of

new homeowners of that time period.

With this new program, more research on precedents that combined living and studio spaces were required.

Research was also conducted into precedents of tiny homes and how we could modify the program to only include the essentials of living space and creative space to fit within the house.

The evolution of the program led to more group design which divided the studio into four groups.

Through this process the studio rested upon four potential solutions to satisfy the program requirements, as well as a detailed list of spaces and amenities needed to satisfy an artist residency. This process then produced two themed categories: All-In-One vs Duplicate. These two categories directed the current four proposals.

There are two proposals in each category.

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PROGRAMMING

Strengths - Isolation / silence - Middle of everywhere - Space to work with Landscape - Nearby towns - Existing structures - Train culture - No light pollution - Rich history - Wildlife / livestock - Natural ecosystem - Lack of cell service

Opportunities - Existing houses/ structures - Isolation - Renovation - Creation of new structures - Fill residency need - Farmers market - Nature/Landscape

Weaknesses - Off-site / dilapidated buildings - Difficult to reach - Lack of signage - No immediate amenities - Lack of cell service

Threats - Location - Pests - Funding - Natural disaster - Local community pushback - Dying rural communities - Residency competition - Chemical compounds from railroad

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SWOT ANALYSIS

As with any project, the characteristics of the site need to be assessed in order to reach a cohesive result. We conducted a SWOT analysis of Volland, identifying its strengths, weaknesses, opportunities and threats, to better understand how the elements could work with and against the project. This analysis formed an understanding of what Volland, as a site and community, has to offer.

In analyzing the lists, the development of a program that enhances Volland’s strengths of isolation and landscape, addresses the weaknesses of accessibility and amenities, capitalizes on the opportunities of culture and existing structures, and responds to natural and communal threats. This insight provided us the ability to shape a program that incorporates the results of the SWOT analysis, a program that fosters artist creativity and community engagement.

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PROGRAMMING

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RESIDENCY ELEMENTS

There are many elements that can be incorporated into an artist residency program. For the Volland Artist Residency Program, certain features took hierarchical precedent over others and the program is condensed to provide only the necessary elements to thrive and create.

The most important spatial feature is a sizable, flexible studio with wall space, storage compartments and a cleaning sink, with room for a table and chair. This singular studio space comprises the necessary spaces for working conditions while all other support spaces fall under necessary living conditions. These are the basic elements one needs for a short stay: a bed, small bathroom and kitchenette with minor support storage space.

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HOUSE #1 CONDITIONS

House one sits on a slightly sloped plot of land, with the front facade facing Volland Rd. At only approximately 600 square feet, the single story house currently has two bedrooms, a living room, kitchen, one bathroom, an open front porch and an enclosed back porch.

The 1930s kit house is set on a shallow stone and concrete foundation, with structural exterior walls and a gable pitched roof with a small attic.

The exterior facade is painted wood siding with double hung windows on all four sides and thin asphalt shingles.

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PROGRAMMING

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ENGAGEMENTS

OVERVIEW

137

LIGHTING STUDIES

139

BRICK STUDIES

147

COMMUNITY ENGAGEMENT

161

HOUSE #1 DISCOVERIES

165

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ENGAGEMENTS

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ENGAGEMENTS

Engagement is a key aspect to the development and the learning of the site, community and overall project.

Without the engagement aspect of a project it would be difficult to begin to grasp the nature of the surroundings and the effects the project will have on a community.

Throughout the semester the studio was tasked with a multitude of problems concerning what Volland is as a place and what best represents Volland as a town. To begin the engagement process we started to create “tuning devices� that reflect the existence and characteristics of Volland. We then began to further our

understanding of Volland as a town by interviewing multiple residencies from nearby communities as well as Patty Reece, who is the key stakeholder in the future development of Volland.

As we began to better understand Volland as a place we eventually pin-pointed an existing structure on site that eventually lead to our Design Make project. By deconstructing the house it allowed us to learn how the structure was built and how it functions in its original form.

It also helped us to realize the future potential of what not only the house can become, but Volland as well.

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ENGAGEMENTS

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SITE ENGAGEMENT Lighting Studies

A way the studio began understanding Volland was by conducting a lighting study. As it sits today, Volland houses multiple intriguing elements that can be emphasized. This is due in part by the low light pollution that not only Volland posses but most of Wabaunsee County because of its seclusion from larger metropolitan areas. The town of Volland already holds successful stargazing events because of the extreme seclusion from surrounding towns. This sets the stage to create a lighting study to highlight key locations and characteristics of Volland as a town. The overall objective of this tuning device was to utilize light to help artists and locals to view Volland in a controlled environment.

The process of the lighting study was documented throughout the entire progression, this is to further inspire future artists to see what Volland has to offer.

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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SITE ENGAGEMENT Brick Studies

If Volland is known for anything, it is known for the Volland Store. The primary material used in the Volland Store is red brick. Throughout the course of the semester the studio has been exploring the process of brick stacking. The intention of this investigation was to further our understanding of how a material works, in this instance, bricks. Each individual study of brick stacking allowed us to push the limits of how a common brick can be manipulated in the normative stacking method. This allowed us to grasp a fuller understanding of a very essential part of Volland and itself as a place.

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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COMMUNITY ENGAGEMENTS

To help the Design Make studio better understand the surrounding community, we had the opportunity to interview residencies from Alma Kansas. Along with the residence interviews we also interviewed Patty Reece, who is the sole reason why this project and Volland exists. We also had the pleasure of having dinner with the Volland board, gracefully hosted

by Patty and Jerry Reece at their home to allow us to get to better know the people who commit a piece of their lives to Volland and its future.

The closest town to Volland is a small commuter town named Alma, Kansas. The town is a short 10 minute

drive on Hwy K10 and a recent census put the population of Alma at 851 residents with a total of 7051 residents in Wabaunsee County as a whole.

The county mainly consists of older individuals and couples. Recently however, there has been an influx of recent graduates, young parents and recently married couples. After the interviews were conducted in Alma a large majority felt that the community would benefit from more community held events, recreational activities, a sit-down restaurant and a place to stay overnight.

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ENGAGEMENTS

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CONVERSATIONS Volland Board Chili Dinner

Members of the Design Make studio spent an beneficial evening with the Volland board enjoying conversation and a chili dinner hosted

by Patty and Jerry Reece. The night began with members gathered around a Ramford fireplace sharing jokes, experiences, and stories.

It then proceeded into the comfort of Patty and Jerry’s beautiful home that is tucked away in the Flint Hills of Kansas. Inside and away from the strong Kansas winds, chili was awaiting to be served to the dinner goers. Overflowing with guests

we gathered around tables set up throughout the dining and living room to enjoy more conversation over warm chili.

The night concluded with the Volland Board and the Design+Make Studio in Volland to partake in the light study set up by the Design+Make Studio. The purpose of the dinner was to create a dialogue with members of the Volland Board and allow to see Volland in a new way before a pivotal presentation the following morning.

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ENGAGEMENTS

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HOUSE #1 DISCOVERIES

After pin-pointing the most northern structure on site as the catalyst for the Design Make project, the studio conducted a carefully methodic order of deconstruction. The purpose of the demolition was to allow the studio to better understand how the house was assembled.

After conducting three demolition experiments throughout key areas of the house, the studio effectively learned how the house functions. Tearing back plaster and lathes on a portion of a wall uncovered that the house was constructed using 2x4 milled studs laid out on 16 inch centers. After tearing back a portion of the ceiling and upper wall revealed that the trusses were constructed

out of 2x6 wood member laid out 24 inches on center. Lastly, we unveiled a portion of the wood floor to reveal the floor joists which were constructed out of 2x10 wood members also laid out on 16 inch centers. After these methodical demos were completed we came to realize that the house was a Roebuck house, a popular style of construction for a lot of homestead houses such as the ones that exist in Volland. These types of houses would arrive on site via train car in a kit-of-parts and were then assembled by hired contractors or the owners. By furthering our knowledge of how this house functions the studio was able to move forward in a realistic manner for creating a new purpose for the house.

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ENGAGEMENTS

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ENGAGEMENTS

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ENGAGEMENTS

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PROPOSALS

OVERVIEW

175

PROPOSAL ONE

177

PROPOSAL TWO

185

PROPOSAL THREE

195

PROPOSAL FOUR

207

PROPOSAL FIVE

217

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PROPOSALS

175

DESIGN PROPOSALS 4 SCHEMES

are

The following design proposals potential

on

existing spatial conditions created by

the evidence and research gathered

the interior walls was an inadequate

throughout the initial schematic phases

use of space. All the proposals indicate

of

House

a removal and reclamation of materials

One. The conclusive identities of each

from the spatial partition walls and from

proposal are split into two general

the 70’s addition on the west side of the

sections;

Duplicate

house. These proposals emphasized the

(additive additional structure). Each

reintegration of newly designed spaces

proposal was investigated and evaluated

to accommodate the structured program

individually to reach these solutions.

detailed in the previous section.

project

solutions

development

All-in-One

and

based

house one it was agreed upon that the

for

During our preliminary inspection of

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PROPOSALS

Plan 0

2

4

177

COMPACT CREATIVITY PROPOSAL ONE

The main goal of this proposal is

the private living quarters, and finally

to integrate a compact living environment

enter into the secluded environment

within the original structure of the house

of the western facing outdoor living

while providing ample space for a working

space. The formal organization and

studio. This provides all the necessities

separation of spaces allows the living

for living without any of the distractions

quarters to remain secluded as a private

for working, allowing the artist to fully

environment for the artist to inhabit

integrate themselves in their work and

while the studio has the potential to

the surrounding environment.

engage the public with the artist’s work.

The

orientation

indicates

a

There is also an outdoor relaxation

formal procession of space from public

space where individuals can step away

Type

to private. Upon entrance, through the

from their work environment and settle

All in One Structure

eastern side of the house Guests proceed

themselves within the landscape.

Team

through the public studio space into

Nicole Bauknight Angel Llanes Kaydee Seamatter

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PROPOSALS

Sections 0

2

4

179

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180

PROPOSALS

Process

Process

Process

Process

Existing Exterior Exterior Living interior Space space living walls

Existing CompactExisting Interior interior Walls service core walls

1

3

Process

2 Design + Make Studio 2017

5

Design + Make Studio 2017

Compact Existing Service Exterior Exterior Compact interior Core service core living space living walls space

Compact Exterior Compact service core service core living space

Exterior living space

4 Design + Make Studio 2017

Design + Make Studio 2017

Existing interior walls

6 Design + Make Studio 2017

Process diagrams

181

Spatial Layout

Diagramming the process

Spatial Layout

patial Layout Exterior Living

Interior Service Living Core

The placement of the compact service bar provides a natural and functional separation of the working and living spaces with it’s offset position creating a larger studio space and slightly smaller living quarter. The studio is prioritized in spatial volume to accommodate a variety of mediums and working space configurations for the artist during their residency.

With all possible functions for Private the creation of art being met between the services provided within the bar: sink, wall surface and storage, and the rest of the studio being left open for artistic creativity. The highly efficient approach of the compact service bar provides the

Studio

necessary spatial elements for living but does not necessarily encourage a large amount of casual lounging space for residents as to emphesize focus on their work.

The major living functions settle themselves within the service bar, which is offset of center in the house. The design incorporates what are considered minimum necessities for living such as: bed, bathroom, shower, and kitchenette Publica small stove-top, refrigerator containing and sink. These elements make up the entirety of the living accommodations for individuals staying for up to 10-14 days.

Design + Make Studio 2017

Private Spatial organization Private

Public

Spatial Layout

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PROPOSALS

Core

Core

Led lighting Led lighting

Led lighting

Led lighting

Translucent panelin Translucent paneling

Translucent paneling slucent paneling

Storage space

Storage space

Flush sliding door Flush sliding door

Queen bed

Queen bed

Toilet

Toilet

Shower

Shower

Studio wall spaceStudio wall space

Studio support stora Studio support storage Flush sliding door Flush sliding door

Compact kitchenette mpact kitchenette

Design Design + Make Studio 2017+ Make Studio 2017

Core Sections

Details

183 5/8” gyp. board 4x12 wood beam roof tiles 5/8” roof sheathing vapor barrier 2x8 wood rafters 2x4 wood blocking cement board siding air barrier 1” rigid insulation cavity insulation 5/8” gyp. board 2x4 wood blocking stainless steel flashing polished floor slab concrete foundation wall

Sections 0

2

4

6

12

Wall Section concrete footing

Design + Make Studio 2017

0

2

4

6

Cross Section

12

VOLLAND, KS | A PLACE FOR ART Design + Make Studio 2017

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PROPOSALS

185

THE HOUSE OF BRICK PROPOSAL TWO

The first inclination for the re-

that are made to accommodate artists’

envisioning of the north house was to

needs, are designed with two things in

remove the addition on the west side and

mind: prioritizing the spatial quality

return the house to its original historical

and functional needs of the artist and

integrity. With this first step towards

preservation of the original house.

preserving the original aesthetic of the

house, this proposal seeks to continue

extension of the Volland Store program;

refining the house in ways that celebrate

therefore, the material choice of brick

and highlight its existing character and

for the new partition wall strengthens

features, as well as that of Volland’s.

the connection. Brick is an existing

The

re-purposing

of

The residency will become an

the

anchoring symbol of Volland. Used in

Type

existing house to accommodate an

the design, it functions as a division

All in One Structure

artist in resident will require a shift

between the studio and living space and

Team

in the provided amenities within the

encases private spaces between the two

Austin Ungerbuehler Evelyne Chokkattu Karl Ndieli Jonathan Eden

structure. All changes to the house,

more public sides of the house.

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186

PROPOSALS

1. SEPARATE LIVING & STUDIO The feedback from multiple artist determined that there needs to be a clear division of space in the house, in order to provide a separation between clean and dirty.

2. MAXIMIZING THE STUDIO Due to the nature of the program, the studio space is hierarchically more important and the space distribution reflects this. A living space designed as efficiently and compact as possible will allow for this.

3. PRESERVING CHARACTER In order to maximize on the efficiency of the footprint, the porch becomes an enclosed part of the living area.

Floor Plan Process diagrams

187

The Bricks

The studio began stacking bricks in order to become familiar with the material. This practice revealed further understanding of how bricks function, their limitations, and their possibilities.

Valuable lessons were gained through this exercise that informed the continued design of the signal. The information gained through many iterations of brick stacking methods could be implemented in the brick wall, the major move of the proposal. Perforated brick stacking, for example could create a much more interesting back drop for the studio and even be used to bring in more ambient light from the living side of the house.

The brick wall is a nod to the heart of Volland which is, of course, the Volland Store.

Interior Rendering VOLLAND, KS | A PLACE FOR ART

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PROPOSALS

Section A

Sections B & C

Sections D & E

189

Sections

The brick wall not only separates the living and studio spaces, but it also separates the public and the private creating a “privacy bar;� this bar extends across the house which includes the bed room and the bathroom. The old facade will be untouched and the windows will be bricked-in. Again, the bricked-in windows will implement various brick stacking methods, possibly even glass brick blocks. In order to provide more space for the living portions and, as a result, the studio portion of the house, the porch was enclosed and the kitchen and dining/living program was placed within this space. In addition, the back wall of the studio space was opened up to allow for the transportation of larger materials with a large sliding door created by the existing west facade.

Reference Floor Plan VOLLAND, KS | A PLACE FOR ART

190

PROPOSALS

Living Space

Bed Platform

191

Front Facade Glazing

The Sliding Wall VOLLAND, KS | A PLACE FOR ART

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PROPOSALS

193

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194

PROPOSALS

Site Plan

195

REFLECTING HISTORY PROPOSAL THREE

This proposal attempts to

allowing more comfort for any guest

satisfy programmatic needs through

occupying it. The aesthetic of the

an additional, separate structure to the

addition is meant to complement the

west. This additional space allows the

existing house in form, and contrast

existing structure to contain all of the

it in color. This delineation allows for

living program, while giving ample space

a more interesting dynamic between

for studio structure in the new addition.

the two buildings, clearly separating

The studio space is designed to cater to

the historic from the new. The spacing

any artist needs, providing wall space,

between the structures creates a datum,

work space, and storage. This separation

all matching the footprint of the existing

results in a more generous living space,

house.

Type 2 separate structures

Team Amber Summers Keegan Amos Lucas Downes

VOLLAND, KS | A PLACE FOR ART

196

PROPOSALS

DIAGRAMMING THE PROCESS

1. REFINING THE FORM With the removal of the western addition, the house is brought back to its original proportion and geometry.

The existing interior walls cause the house to feel confined. By removing both walls and the ceiling, it creates an expansive experience.

2. MIRRORING In order to achieve the desired living and working conditions, the usable space must be expanded. By mirroring the house, the new structure will utilize the same proportioning and space as the existing house.

197

3. CREATING A DATUM

5. ESSENTIAL CORES

The new structure will be placed 24 feet away from

In both forms there are essential elements

the existing house on the site. This spacing between

to the success of the building as a whole.

structures creates three spaces of the original building

These necessary elements will be placed in

proportion in a row.

a concentrated space that will open up the remaining areas within the structures, as well as define the used spaces that surround them

6. CORE ADJUSTMENTS 4. FACADE REFINEMENT

These essential cores will be adjusted to meet

The original house will maintain its historical

the unique requirements of their spaces. The

integrity. While the new structure will receive

living core will be shifted north to allow for

a new facade in respect to it’s interior space.

a more open space. While the core in the studio will be divided in two and spaced out to provide the most usable area for creation.

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PROPOSALS

7. REFORMING THE ROOF

9. CONTRAST THROUGH MATERIALITY

The roofline of the new structure will follow the same height

The materiality of the new structure will be directly

and form of the existing structure. However, the studio will

contrasted to the existing structure. The house utilizes the

become more simplified by removing the eaves and creating

white, horizontal linear elements as enclosure, while the

a seamless connection between the roof and the walls.

new studio will use similar horizontal elements, but it a darker material, in order to show a distinction between new and old.

8. DAYLIGHTING THE STUDIO

10. GATHERING SPACE

The studio requires even daylight within the space. There

With the space between the two structures there is an

will be clerestories on the north and south facades to bring

opportunity to incorporate a new programmatic element.

in natural lighting. These openings wrap the edge of the

There will be an exterior hearth that will serve as a

roof and transition into partial skylights for optimal lighting

gathering space and will encourage interaction with

for the artists.

nature and other artists and visitors.

199

VOLLAND, KS | A PLACE FOR ART

200

PROPOSALS

South Elevation

201

Longitudinal Section VOLLAND, KS | A PLACE FOR ART

202

PROPOSALS

WALL ASSEMBLY

Interior core wall assembly - existing structure

Exterior wall assembly - new structure Double-pane glazing 2x4 rotated, 16” o.c wood stud framing

Steel mullions Wood blocking

Gypsum board Plumbing Wood finish

Flashing Wood slats Vapor barrier OSB Plywood

Vanity surface Sink storage

2X6, 16” o.C. wood stud framing Gypsum board Concrete slab

203

Having a large workspace is a key requirement of multiple artists.

Whether their specialty’s be in sculptural art or in more literary arts, a large flat work area is beneficial. This surface can be utilized by multiple medium specialties.

A large amount of pin-up wall space is a requirement for visual artists. The work desk will fold up into the wall to maximize on linear wall space. Being able to put up work and step back to view its entirety is a vital aspect of their process.

Performance artists have their own set of requirements in a studio space.

Certain cabinet doors will rotate 180 degrees to provide a mirror to artists who cannot view their own work without a reflective surface.

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204

PROPOSALS

205

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206

PROPOSALS

207

THE PLATFORM PROPOSAL FOUR

In the early 20th century, Volland

the beauty of the historical house and

was one of the important train stop in

the unique experience of seeing a train

Kansas, which provides necessities to

passes by.

passing trains. The existing was built back

then for a family who lived upon train.

team decided to keep the exterior of the

Nowadays, with the development

historical house and turn the interior

of technology, Volland no longer serve

into a generous studio space. Amenities

as a train stop, and the family sold their

and utilities are placed inside the new

house to the Volland Store. When we first

structure which connected with the old

went to visit the site, we were inspired by

house by a concrete platform.

Therefore, for this proposal, our

Type 2 Separate Structures

Team Aoran Zhang Dipen Patal Tanner Lopezr

VOLLAND, KS | A PLACE FOR ART

208

PROPOSALS

1. Original footprint

5. Remove all the interior walls to create a open studio

2. Lift up the house

6. Mirror the footprint of the house

209

3. Add new concrete-steel platform, then put the house back

4. Highlighted are the existing interior walls

7. Gable roof provides a more uniform space in the living structure

8. Open up the living structure to bring in the natural light and view VOLLAND, KS | A PLACE FOR ART

210

PROPOSALS

211

THE INTENT

Kitchen

Mechanical Bathroom

Studio Bedroom Dining

Entry Living

Located in the Flint Hill of

parts linked together by a common

Kansas, the sloped site offers views of

steel-concrete foundation. This platform

the capacious prairie. The footprint of

offers a outdoor living space between

the existing house is a 24x24 feet square

the two houses. By renovating the old

with a 6 feet wide porch on its east

house into a studio, artists can enjoy

side. As an artist residency / Airbnb.

their private working time there. Living,

The design intention of our team is to

dining, bedroom and utilities are located

create a comfortable and spacious living

in the new house with a open view on

and working space that serves multiple

the west side to enjoy the prairie sunset.

functions. It is spacious enough for an

Airbnb and provides all the amenities that

studio allows the stakeholder to rent

are needed for an artist residency.

the apartment out individually, or can

provide artists a different environment

The Houses on the Platform is

essentially two separate free standing

The separation of living and

to live in.

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212

PROPOSALS

0 1

5

10

20

N

Floor Plan 1/4" = 1'-0" 0 1

5

10

First Floor Plan20

N

1/4" = 1'-0"

First Floor Plan

213

VOLLAND, KS | A PLACE FOR ART

214

PROPOSALS

View West from the kitchen

215

View West from the bedroom

View West from the Studio VOLLAND, KS | A PLACE FOR ART

216

PROPOSALS

217

THE GLASS BRICK PROPOSAL FIVE

Type All in One Structure

When a certain place such as

For part of our design process,

Volland is brought up in conversation, we

we realized the importance of bricks,

have mental images and thoughts of the

with their modular form and their

place within our minds. Volland to some

potential as a building material. The

is typically seen as being in the middle of

question was raised whether or not we

everywhere, with wide open spaces and

should implement bricks into the design

isolation. The mental landmark that is

of House One or if the red brick should

typically correlated with Volland is the red

remain as only a part of the Volland store.

brick store, that has withstood the wrath

Through further material investigation,

of the Kansas elements for over 100 years.

we came across a relatively new material

Atypical for the usual buildings of the

that was modular bricks made of solid

area, the red bricks of Volland stand as a

glass.

visual representation of the town itself.

Team Amber Summers Tanner Lopez Keegan Amos Kaydee Seematter VOLLAND, KS | A PLACE FOR ART

218

PROPOSALS

OPTIONS FOR ADDITIONS

219

Enclosing the Front Porch The glass bricks immediately came into our design as a way of screening in the front porch while allowing for transparency to be added to the front of the house for it to remain unobstructed visually. The glass brick component also seemingly was a way for the house to be seen as a glowing object at night for people passing by to know that they were arriving in Volland.

This encasement allowed for us to gain more square footage inside the home without all of the other additions that are typically seen on the other structures in Volland.

VOLLAND, KS | A PLACE FOR ART

PROPOSALS 220 1

2 A-301

First Floor - Annotated 1/2" = 1'-0"

3' - 3 13/16"

4' - 3"

4' - 3"

3 A-301

27' - 6 1/4"

4

BATHROOM

6' - 0"

3

3' - 5"

BEDROOM

14' - 8 3/4"

8' - 3 3/4"

1 A-301

4' - 3"

4' - 3"

10' - 11 7/8"

5' - 0"

3' - 0" 2

KITCHEN

1

LIVING

4' - 1 1/2" 2' - 9" 3' - 6" 3' - 8"

2' - 4"

6' - 8 1/2"

221

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222

PROPOSALS

223

THE INTENT

1

Interior - Bathroom (W)

This proposal was a result of the

be required of an artist in residency as

discussions that took place prior to winter

well as an average airbnb customer.

break. During the winter session a group

The thoughts evolved further into using

of students came together at eldo to

glass bricks to enlcose the porch, which

evolve the design further. After debating

would help add usable square footage

whether the house should accommodate

to the program as well as provide a

both living and studio spaces in an all-

modern twist to the design that would

in-one design, the decision was made to

pay homage to the volland store.

only focus on the accommodation space

The glass brick was a solution that was

for the kit home.

born from necessity, and provided many

opportunities that would cater well to

By changing gears and focusing

on the accommodation aspect, this

artists and renters alike.

home had almost everything that would

1

Interior - Bedroom (W)

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224

PROPOSALS

LIGHT STUDIES THROUGH GLASS BRICK

225

VISIBILITY STUDIES THROUGH GLASS BRICK

VOLLAND, KS | A PLACE FOR ART

8.

227

IMPLEMENTATION

OVERVIEW

229

DEVELOPMENT

231

INTENTIONS

242

COMPONENTS

243

VOLLAND, KS | A PLACE FOR ART

228 IMPLEMENTATION

PHOTO OF DESIGN MEETING AT VOLLAND

229

OVERVIEW

The

design

of

the

Volland

Artist

the context, and immersing the culture

Residency was a challenging opportunity

into the project.

requiring countless iterations in order to

Collaborating closely with el dorado

reach an end result that fits contextually,

inc, our studio convened each week in

functions optimally, and continues to

Volland to discuss the designs progress.

advance the culture of Volland. The

As our studio worked to advance the

concept, layout, and detailing underwent

Residencies design, el dorado brought a

constant transformation, reevaluating

certain level of experience and expertise

each component of the design. Creating

which allowed our studio to understand

a piece of architecture in a sensitive place

the project, construction, and nuances

like Volland demands immense effort in

of our client, the community, and the

assessing design strategies, interpreting

site.

VOLLAND, KS | A PLACE FOR ART

230 IMPLEMENTATION

231

DEVELOPMENT

Design is a constantly evolving process

feedback, leading to new changes and

that requires iteration, testing, and

developments to the design. During

reevaluation. Though this is the nature

our meetings, each group presented

of design, working in such a sensitive

the progress of their component for

and

more

others to critique. This iterative process

effort and reevaluation than a typical

ensures that every option and avenue

project. Every decision must not only

is given thorough consideration in

function, but it must fit contextually and

order to produce the most effective and

enhance the existing culture in Volland.

respectful project for the place.

unique

context

requires

Each week brought new findings and

VOLLAND, KS | A PLACE FOR ART

232 IMPLEMENTATION

2 A-302

1 A-302

A-301

2 A-301

1

DN

233

ITERATION #1

This option was developed during the academic winter break.

Working at El Dorado, Inc’s office, a team of four explored the idea of transforming the front porch to living space. Enclosing these spaces in a unique glass brick, the addition brought an interesting shift from the original layout of the house. Public spaces were designated to the west side of the house, including kitchen, dining, living, and working.

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234 IMPLEMENTATION

1 A302

2 A302

1 A301

BATHROOM

CLOSET

2 A301

235

ITERATION #2

Reevaluating the previous scheme, our studio felt that the design tampered with the fabric of Volland.

The previous design also exceeded the budget, as the glass brick that drove the design became too expensive. The new scheme moved back towards a previous proposal from earlier in the semester, grouping program into a core situated in the northwest corner of the house. The glass brick was kept alive through its use along the northern bathroom wall.

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236 IMPLEMENTATION

1 A302

2 A302

1 A301

2 A301

237

ITERATION #3

This design iteration focused on developing the front porch, investigating different flooring material and relocating the stairs leading to the porch. The core continued development as well.

Our studio began researching appliances, fixtures, and furniture.

Design on the bed, end tables, and casework also began to take shape.

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238 IMPLEMENTATION

1

2

A302

A302

1 A301

2 A301

239

ITERATION #4

During this phase of design, a great amount of focus was placed on developing the front porch, moving towards the steel frame structure seen in the current scheme. This iteration also brought more thought to the connection between the core and the ceiling, and how that space could be used to house HVAC equipment. The back porch also started to take shape, becoming elongated to cover existing concrete pads not previously addressed.

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240 IMPLEMENTATION

1

2

A302

A302

BEDROOM

1 A301

BATHROOM

TV

PORCH

KITCHEN

DINING ROOM

LIVING ROOM

2 A301

241

ITERATION #5

The latest iteration brought many changes to the design. The core-ceiling connection moved towards a recessed cove for lighting in order to emphasize its presence. The shape of the core became heavier as the side walls on the north and south face enlarged. The glass brick was abandoned to give way for storage space to the north.

In this scheme, detailing on the front porch progressed heavily, and the facade of the frame was broken up with a small module. The back porch began to be designed around the existing concrete pad to which it previously was attempting to hide.

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242 IMPLEMENTATION

INTENTIONS

While the scope of the project changed

into the schedule, remain in budget, and

throughout the semester, the ultimate

suit the skill level of our studio.

goal remained the same: the creation of

Though certain elements of the residency

a contextually sensitive facility in which

had to be slated for future design and

a person can use to enhance his or her

construction, the ultimate objective

skills in the arts, humanities, or sciences.

was the creation of a new facility to

As our the project was impacted by new

supplement the Volland Store, utilize

constraints, the design had to adapt and

a unique piece of Volland, and create

evolve in order to satisfy budget, schedule,

a space for people of all backgrounds,

and context. Our initial intentions,

professions, and interests to experience

perhaps being too aspirational, had to be

the indescribable beauty of the Flint

scaled down in order for the project to fit

Hills.

243

COMPONENTS

In order to properly engage with this

was to assemble these components

project, our studio divided our efforts into

into one cohesive design that gives

components according to our interests

equal respect to each element. Each of

and experience. These components,

the groups brought their findings and

ranging from lighting to MEP, allowed

investigations to the weekly meetings,

us to immerse ourselves into a specific

where they were evaluated, critiqued,

element of design, resulting in more

and implemented in the design.

effective and thoughtful outcomes.

The challenge in this organizational tactic

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244 IMPLEMENTATION

245

SHELL

The team assigned to the Shell took on the

design investigations on. Preserving

responsibilities of assessing all exterior

Vollands contextual fabric is a difficult

opportunities, as well as necessities.

task on it’s own, but creating a modern

These included aperture design and

intervention in it required extensive

restoration,

and

thought and respectful design. Without

mending of the roof. This component was

the work of this group, the interior loses

tasked with maintenance of the historic

its ability to connect with the site and

integrity in which we grounded all of our

history of Volland.

foundation

repair,

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246 IMPLEMENTATION

1" I.G.U. GLAZING

1/2"X10" HOT ROLLED FLAT BAR FRAME 1/2"X1" C-CHANNEL GLAZING STOP

SLOPE 1/4" PER FT

FIBERGLASS INSULATION 5/8" GYP

1/4"X1/2" FLAT BAR DRIP EDGE

SCRAPE AND PAINT EXIST'G WD SIDING, REPLACE DAMAGED SECTIONS WHERE REQ'D

247

FOUNDATION

The foundation of the house follows the construction method of many structures in the Flint Hills. The wood joists of the building rest on a wall of limestone, that is topped with a small layer of concrete. Though this method utilizes normative building materials of the area, the structural integrity of the foundation is not as reliable as modern tactics.

By applying an additional layer of concrete around the exterior of the foundation, supplemented by tie bars, the strengthened wall can support the loads of the existing structure as well as interior components.

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248 IMPLEMENTATION

MTL FLASHING WD EDGE 1x2 WD FRAMING NEW WD BEADBOARD CLADDING

SCRAPE AND PAINT EXIST'G WD SIDING, REPLACE DAMAGED SECTIONS WHERE REQ'D

SCRAPE AND PAINT EXIST'G WD SIDING, REPLACE DAMAGED SECTIONS WHERE REQ'D 5/8" GYP

1/2"X10" HOT ROLLED FLAT BAR FRAME

MTL FLASHING W/ SEALANT

249

PICTURE WINDOW

Turning to the visible exterior of the house,

The new picture window, located on the

our studio encountered multiple issues in

south exterior wall of the house, aims to

need of restoration and repair. The soffit

reconcile the aperture proportions on

and exposed roof joists required a new

that wall. The original windows, short

layer of beadboard to shield the original

and situated too high to be utilized

roofing material, as well as a wood edge

effectively, are replaced by a larger

board and metal flashing to address water

opening that allows users to connect

run off.

with nature and the site. The design

The wood siding, deteriorated from

of the aperture reflects the style and

decades of exposure to the elements,

construction being implemented in

called for the removal of paint in

other components of the house.

preparation for a new coat, and repair of any damaged boards.

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250 IMPLEMENTATION

251

CORE

Being the centerpiece of the interior of

the core separates living, cooking, and

the house, the core proved to be the most

sleeping. Since the core holds this

challenging component that we have

responsibility, we discovered quickly

faced throughout the design process.

that each move we made affected the

The core contains multiple programming

moves we made in every other facet

elements that requires subgroups to

of the house design. The way the core

work closely with the core group. Aspects

meets the ceiling affected what material

such as appliances, kitchen casework,

we used for the ceiling, which in turn

and even lighting became drivers for the

altered the lighting. The layout of the

overall design of the core.

kitchen influence the layout of the dining

In tradition home design, and

space and it’s furniture. The design of

even in the original layout of the house,

the core is ultimately the design of the

walls are what delineate each space in

house.

the structure. However, in our design,

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252 IMPLEMENTATION

NORTH INTERIOR ELEVATION

253

THE CREATION OF THE CORE

While the design of the house interior

The design of the kitchen relied on its

grounds itself in open space, pieces of

functionality as much as its aesthetics.

the program required privacy and walls

This team had to decide what appliances

to house electrical and plumbing chases.

were necessary for a temporary stay, as

The program placed in the core consists

well as how to fit them into the small

of the kitchen, bathroom, and storage

space allocated for this program. The

space. The issue of storage space became

kitchen worked closely with the FFE

a large topic of discussion. Ultimately we

team to conduct research and make

chose to enlarge the core only enough to

decisions that fit our needs, as well

add a small space for a pantry, washer,

as our budget. This component also

dryer, and closet. The bathroom proved

brought investigation through mock

to be the most challenging element,

ups,

compelling us to think about how a

representations of our ideas.

constructing

small

physical

designer creates a functional and pleasant space under such restrictions.

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254 IMPLEMENTATION

255

LIGHTING

The lighting team took the responsibility

lighting layouts and strategies. The team

of designing and researching methods,

also met with Derek Porter, a renown

products, and affects of lighting in the

lighting specialist, in order to mine

space. This intention not only included

his expertise for solutions and design

artificial lights, such as diffused lighting

methods.

and task lighting, but also natural

different goals, which evolved as the

light brought in through windows and

overall design changed.

Each scheme addresses

openings. Utilizing digital and physical investigation, this team created multiple

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256 IMPLEMENTATION

OPPORTUNITIES FOR LIGHTING RECCESSED LIGHTING 0 5

This scheme was a quick exploration of how to evenly illuminate the house. The recessed lighting would follow a grid dictated by providing the preferred level of lighting throughout all the living space. Hiding the elements inside the ceiling would also allow the volume of the vaulted space to remain uninterrupted by pendant lighting or excess wiring.

10

Lighting Insets

5

- Allows the volume of the space to stay pure and uninterrupted by hanging fixtures.

0

- Follows a more regulated grid and even lighting throughout.

WALL BASED LIGHTING

10

This scheme was another resolution to providing enough general lighting and highlighting the intersection of wall and ceiling. Light would be provided by LED strip lights hidden in a reveal at the top of the wall. The lights would wash the ceiling and reflect down to the user level. Again, like the can lighting, this lighting plan would allow the volume of the vaulted space to remain uninterrupted and clear.

- Allows the volume of the space to s

Lighting Along Walls

- Highlights the connection of the wa

257

TASK LIGHTING 0 5

This scheme questioned how much lighting was necessary for the small square-footage of the house. The task lighting is placed in areas that would require higher levels of light to accomplish a task. These areas include the kitchen, dining table, reading lights above the bed, and lighting in the bathroom. The hopes were to achieve enough general lighting by using just the task lighting doing double duty.

The task lighting in this plan would most likely require pendants and lamps.

10

0

TASK LIGHTING

TRACK LIGHTING

5 10 - Ties into the possible structural syste

- Follows a more regulated grid and ev

Lighting on Cable System

This scheme explored the possibility of utilizing the tension wires that are needed to reinforce the exterior walls so that they do not collapse under the weight of the roof. Placing track lighting on these tension wires would hide the fact that the wires were there for structural reasons. The lights would also consolidate two systems into one making the overall design more concise and simple. The track lighting would be pushed to the edges of the exterior walls keeping most of the volume clear of wires and lighting elements.

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258 IMPLEMENTATION

259

FRONT PORCH

The front porch, an intrinsic piece of the vernacular in Volland, quickly became a major point of focus in the houses design. The aim of this component was to reevaluate the existing condition and begin to think about how it could function more effectively. The design of the porch required a great deal of skill acquisition through welding and fabrication, which yielded vital insight into the plausibility of the design and means in which it could be improved.

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EXIST'G WD SIDING

STEEL SCREEN IN EXTRUDED ALUM. FRAME

EXIST'G BEADBOARD CEILING

1/2"X1" C-CHANNEL GLAZING STOP

MTL FLASHING

2"X6"X1/4" GLAVANIZED STEEL TUBE

EXIST'G WD MOLDING PLYWD 1/2"X1" C-CHANNEL GLAZING STOP STL SCREEN IN EXTRUDED ALUM. FRAME

1/2"X4" HOT ROLLED FLAT BAR

1/2"X4" HOT ROLLED FLAT BAR 1/2"X12" HOT ROLLED FLAT BAR FRAME 2"X6"X1/4" GALVANIZED STEEL TUBE

EXIST'G WD SIDING EXIST'G WD RIM JOIST EXIST'G FOUNDATION NEW CONC. PAD

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FRONT PORCH REDESIGN A MODERN APPROACH

The existing porch was too small for users

walls of the house, the porch appears to

to realistically occupy the space; however,

be more respectful the historic nature of

through a modern intervention, the porch

the structure. The stylistic approach of

becomes a functional aspect of the house.

the steel plate construction is reflected

By moving the columns from the interior

in other elements of the house such

of the porch to the exterior, we were able

as the picture window. Ultimately, the

to increase the usable square footage.

front porch component brings back the

Furthermore, by pushing the screen to

importance of the vernacular porch space

the edge of the frame, the porch begins to

that has been so important in the history

feel more spacious than the original.

of Volland.

By outsetting the frame from the exterior

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SITE

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ADDITION REMOVAL TRIM REMOVAL LATHE & PLASTER REMOVAL CHIMNEY REMOVAL INTERIOR WALL REMOVAL CONCRETE REMOVAL WINDOW RESTORATION FOUNDATION REPAIR FOUNDATION REINFORCEMENT SIDING RESTORATION

SHOP METAL WORKING WOOD WORKING

271 277 281 289 295 301 311 317 321 329

333 335 339

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OVERVIEW

Design Make Studio is unique by allowing

continued to push towards a final design,

students to experience the construction

the construction side of things began

aspect of architecture. This semester

to kick off in late January. Working with

we took advantage of the brand new

Don Hendricks as our general contractor

fabrication lab as a way to learn new

& advisor, we started a major scope of

skills that ranged from welding, furniture

work, Demolition. Demolition has since

creation, and restoration. While things

then transitioned to new construction as

were happening in the shop, most of the

we continue to push the design forward

hard work was being done on site. As we

and acquire new skills out on site.

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SITE WORK

Most of the 2018 spring semester has been spent out on site in Volland, KS. Working with a client, contractor, budget, & schedule provided the studio insight into how real world scenarios play out. As with most restoration projects, we also ran into obstacles that would add additional scope and cause delays to our otherwise well thought out schedules.

This semesters site work included a variety of scopes as we kicked off in late January with the removal of the addition. We also started a meticulous process of the careful removal and preservation of all interior trim pieces.

This then continued into the month of February where our primary focus was the removal of lath & plaster. As this lath & plaster removal continued, we also exposed more areas in the floor for a proper inspection of

the foundation by the contractor and engineer.

As the hollowing out of the interior continued, the ceiling was also part of that story. Old insulation was bagged & disposed of, while windows were removed and boarded up to be restored back in the fabrication labs.

The wood floor was also removed as most of the floor was uneven & needed a much needed renovation.

The month of March & April was spent working with concrete. A huge scope of work was dedicated towards removing the many tons of concrete that made up the front & back porches. Additional trenches were dug on all sides of the house. These will soon be poured with concrete to create additional support to the foundation.

Other additional supports include replacing rotten rim joists by jacking up the house.

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ADDITION REMOVAL January 31 The very first part of deconstruction started with the removal of the addition. It was a given since we first started looking at all of the houses. This addition was clearly not a part of the original kit house and had to go. Don Hendricks assisted the studio on the steps required to remove the addition.

We started by removing all the random equipment that had been housed in the addition as well as the windows and siding.

While this was being done a team was deconstructing the roof to make it easier for cleanup. It was then just a matter of taking out the columns and cleaning up the mess.

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TRIM REMOVAL January 31 - February 2 Along with the removal of the addition, additional teams started preparing the interior by first removing all the trim inside the house. We had to document where the trim was removed from by placing unique identifiers on each piece before using a prybar and hammer to carefully detach the trim from the wall. After starting off with the base trim, we moved to removing the window trim and door trim, as well as any other trim that was placed around the casework.

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LATHE + PLASTER REMOVAL February 2 - February 14 Perhaps one of the largest tasks taken on by the Design + Make studio this year was the removal off all lathe & plaster. It was clear that the uninsulated walls and uneven walls meant that all lathe and plaster had to be removed on all interior and exterior walls. The wall lathe and plaster removal was completed on February 7th before we started to remove the ceiling lathe & plaster. The ceiling lathe & plaster proved to be more challenging as we had to also deal with blow in insulation. All together the lathe, plaster, & insulation took up the most space of the massive dumpster, as the studio worked hard to start opening up the interior space. Once completed, it was clear that the space deserved to be lofted and provided a much clearer vision on how the design could be improved.

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CHIMNEY REMOVAL February 25 One of the most defining elements of the existing house was definitely the chimney.

It too had to be removed due to its age, placement, and the structural issues that it caused by interfering with the roof rafters.

What we thought would be a hard task, proved to be relatively simple, as the brittle brick and mortar snapped away with ease.

The chimney was safely removed and the hole was temporarily patched in the roof.

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INTERIOR WALL REMOVAL March 12 - March 16 Following the gutting of the house, the next step was to remove the non-load bearing interior walls. After clearing all pieces of lathe and plaster we had to brace a few walls back to the floor to ensure the walls wouldn’t bow out. Next, the ceiling joists had to be removed to allow the interior walls to be free from the top. It was then just a matter of swinging a few hammers and the sledge to detach the studs from one another. After cleaning up all nails & wooden pieces, the house was finally starting to appear as open as it will once complete.

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CONCRETE REMOVAL March 15 - March 28 The most labor intensive part of the studio involved removing the concrete. While it seems like an relatively easy task, the extra reinforcement and thick slabs at the porches took more time then initially thought. Using jackhammers and the sledge hammer, the studio was hard at work destroying pieces into manageable sizes to carry to the concrete dumpster. Using a wheel barrow and buckets, we started to piece by piece take out the porches. To our dismay, we would find many different surprises such as large limestone pieces, sand, and other obstacles that would continue to test our perseverance in getting the job done. After a hard 2 weeks the concrete was finally out and the surrounding debris cleaned up.

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WINDOW RESTORATION March 16 - Ongoing After debating with whether or not we should acquire new windows, we decided to keep the existing windows that were true to the kit house of the 1930s. In order to do this, all of the windows needed to be removed and taken back to the KSU fabrication lab to be restored. We removed all the old paint, routed & sanded, and prepped them for reinstall. A new pane of glass, sliding rail , and a fresh coat of paint will be installed as part of the restoration process.

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FOUNDATION REPAIR (JOISTS) April 16 - April 25 By removing the concrete porches in the front and rear, we had a clean view of the rim joists surrounding the house. They were in complete distress as termite damage and water damage turned the wood to a loose powder. By using jacks we carefully lifted up each corner of the house to allow us enough tolerance to remove and replace each rim joists. Working around the house we also had to remove certain pieces of the floor boards and siding so that the rim joists could be accessed and fastened properly to the existing structure.

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FOUNDATION REINFORCEMENT March 5 - May 7 The structural engineer deemed early on that the existing footings were too unstable and needed to be reinforced with a 6� to 8� band of concrete around the perimeter of the house. Due to the close proximity to the existing house, we were required to manually dig out a trench surrounding the perimeter of the house. This digging was also continued to the interior of the house as a crawl space had to be dug out on the other side of the foundation. This crawlspace would allow us to run new service lines later on in the process. Recently the perimeter was complete, and re-bar has been inserted into the trench. Form work is also nearing completion and new concrete will be poured by May 7th.

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SIDING RESTORATION March 5 - April 28 The only element that seems to be standing is the siding. The siding is still in decent shape, but it was clear that there was a need of a new paint job. After testing the paint for lead, and deeming it safe to do so, we started scrapping off the old paint from the siding. We tried to also use a pressure washer to aide in the removal of the siding but that proved to be too powerful and would damage the existing siding. The restoration is still continuing as the paint is too stubborn to be removed. The debate continues as to whether or not new siding will be implemented.

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FABRICATION LAB As part of the design + make studio, fabrication has always played a key role each year. This year was no different as we took full advantage of the new APDesign fabrication spaces. As we started to delve into the different scopes of work, certain members split off of site work to focus on the other aspects of design.

Three individuals focused their energy on getting certified in welding.

Spending countless hours in the shop, they

took their training to the next level practicing many different types of welding techniques.

While the metal work continued, many different types of wood workings would continue in the shop as well. Many individuals took charge of producing mockups of different types of furniture that would help the client in making decisions as to what could be implemented into the design.

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METAL WORKING With little to no experience in welding and metal works, a small group of guys worked hard to get certified in welding. Using a combination of mig and tig welders, they spent a lot of time in the shop. While we weren’t sure where the front porch design would land, or whether or not we would get to tackle the scope within our time here, one thing was clear: the porch would take on a modern approach and would be requrire a fair amount of welding as metal would be the main material. The group drove down to eldos shop to get certified by Chris Burke.

While they all worked hard to get there, one person passed and became a certified structural steel welder. The others will continue to practice their skills and hope to try again sometime in the near future.

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WOOD WORKING At many different times in the semester, multiple wooden projects emerged. While some people tried to tackle furniture, others tried to tackle the core and the casework that would follow.

Many lessons were learned as we would use multiple machines in the shop to produce the different objects. Case work in particular required special attention to detail, as we quickly realized drawer slides and cabinetry required a certain level of tolerance to function properly.

By working in the shop, we also learned how difficult it can be to produce objects as they are drawn in construction sets. We learned to appreciate all the different trades especially cabinet makers, and all the work that it can take to get the job done properly.

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10.

347

COMMUNICATIONS

OVERVIEW

349

PRESENTATIONS

351

CLIENT MEETINGS BOARD MEETING HOEDOWN THROWDOWN CONSULTANT MEETINGS ARTIST INSIGHT ACADEMIC PRESENTATIONS

353 355 357 359 361 363

REFLECTIONS

365

LESSONS LEARNED

425

FUTURE

423

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DESIGN COMMUNICATIONS

The ability to communicate a design or design intention, to a client, a community or any persons not versed in architectural vocabulary, is a critical skill in an architects’ skill set.

The course Design Communications is formatted to teach us the necessary written and oral skills to translate design, at any stage and any form, into an effective concise format that can be communicated to designers and nondesigners alike. Through this graduate course we learned how to configure design thoughts, ideas and actualities into client presentations; how to write and articulate architectural arguments.

We learned the intricacies of carefully crating design conversations, design intents and design explanations so as

to render our audience in manageable knowledge and understanding.

These abilities have been represented in many formats including blog posts, presentations, academic books and formal and casual conversations. Learning to use the right visual imagery to accompany and reinforce the arguments presented has been a key factor of the course.

Supporting imagery that helps analyze, clarify and assess the written or spoken component is just as important as the crafted argument. Harmonizing these aspects, the written, verbal and visual, to form well-constructed claims that help shape and strengthen design opinions, has aided our proficiency in communicating design.

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PRESENTATIONS

Throughout the year, the studio was tasked with presenting progress and new ideas to the client as well as others involved in the project.

Audience members often had very different roles as well as perspectives for the project. It was vital to gear our various presentations to our specific audience members. The studio would choose to highlight certain aspects of the progress in order to most effectively sell new ideas—this is essential for brining any project to completion. For example, if the studio were presenting to Patty, the project’s primary client, it would be tailor made for her focusing on the rich history of Volland, practicality

of the design, house aesthetics, and overall cost. However, if the studio were to present to Don, the general contractor of the project, the studio would emphasis the technical side of constructing the design and answering the question, “How will this all work?”

Both people, vital to the erection of the artist-residency, possess individual and unique world-views. This was good practice for our future careers as architects. As architects, we must learn how to effectively and sensitively engage with various audiences. This was a practice for the most part unlearned in the studio’s education up until this point.

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CLIENT MEETINGS

Participants Patty and Jerry Reece, David Dowell and Students

Location Volland, Kansas

Date Recurring on Fridays

Summary

Client meetings are an essential part of the design process and client/architect relationship for two reasons: you, as the architect, want to keep your client informed and up-to-date on the project and you want their approval on decisions at every stage and step. The advantage of the Design+Make studio is having a real client, with design ideas and aspirations, to work with. Our client meetings with Patty and Jerry presented a great learning hurdle with implementing our Design Communications knowledge and putting our communicating skills to the test. Throughout the client meetings we learned a lot about our clients hopes and goals for the project, how to best present information and ideas to get the point across clearly, their working knowledge of design and how to use that to our advantage, what not to do and how to foster a proper working relationship.

Navigating client meetings has been a learning curve on our part. Throughout the project we have tried different strategies for presenting information at client meetings, from group presentations to individual presentations, client liaisons and point persons, all with varying degrees of success and failure. Depending on the client, some strategies work better than others and we have learned what works best for presenting and extracting information and consent from our clients.

Establishing a quality working relationship with your client is crucial to having a successful project. We learned how our client likes to operate and proceed through a project; how ideas flow through and become realized; to how present information to garner a reaction and decision. We also learned more personal details about the connections our client has to the project and her larger community aspirations that make the project special. Incorporating these significant details into our design, learning how to craft the design around the stories of place and people, was one of the most principal elements of our client meetings.There has been trial and error on our part with navigating client meetings and we didn’t always get it right. However, through failure comes more learning and understanding and through each stage we complied more knowledge that informed our strategy and arrangement for the next meeting.

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BOARD MEETING

Participants Volland Foundation Board and Students

Location Manhattan, Kansas

Date October 27, 2017

Summary

The largest and probably most intimidating presentation of the studio was also the very first that was made about the Volland project. The initial proposal to gain the support of the Volland Store Board members who were comprised of a variety of individuals who were all heavily invested in Volland.

The goal of the presentation was to encourage their support in the foundation of an artist residency program with the renovation of one of the three existing houses. Nearly 30 individuals sat before the studio intent on hearing about the information that was gathered and the house proposals that were explored. This presentation was a sort of initiation right for most of the studio who had never proposed a project to a client and invested parties. Many projects that are critiqued throughout school are presented to other architects and designers who understand the terminology and ideas of projects. In actuality, many actual design proposals must be presented in a way that any party involved can easily understand. The content of the presentation would inform the studio on how to refine the formats for later speaking engagements with the client. Initially, the reaction to the proposal provided some new insights to Volland which were not seen before. Many discoveries were made during the lighting experiment the evening before the presentation and were reinforced through the discussion following the presentation itself. The research and in-depth study of each house in Volland illuminated the project focus with the northernmost kit house. This was a decision which was reached by the group after the presentation was completed to establish the studio’s focus.

The outcome of this presentation was the direction in which the studio would travel to create design proposals for house one. In addition to the direction of the studio, many members of the studio experienced the first real-world design presentation which shifted the mindset on the way architectural projects are proposed to clients.

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HOEDOWN THROWDOWN

Participants Design+Make and FACT Students

Location Volland, Kansas

Date March 1, 2018

Summary

The “Hoedown Throwdown,” as it came to be known, was a quasi-competition of two different states, two different studios, and two different projects. Both projects, Kansas State Design + Make and University of Nebraska Lincoln FACT, pertained to rural artists residencies within small-town communities. Together, alongside Mel Ziegler, Hesse McGraw, Patty Reece, and the Volland Store Board Members, both distinct projects were presented.

Presentations were compared and contrasted to one another—this allowed each studio and each client to see how design problems were solved well and not-so-well. The Hoedown Throwdown was a greenhouse for design and creative-thinking. Most importantly, this event affirmed for Patty Reece, the Design + Make client, that the project was heading the right direction. The project survived critique from several architects and proved there was in fact a need for artist residencies.

The FACT, or Fabrication and Construction Team, project was in Rushville, Nebraska. Mel Ziegler connected with Jeff Day seeking to convert a grocery store into an art gallery for the community as well as provide accommodation for the residency. Acting as a sort of “signal” to the town, the studio designed a tower that would also house artists seeking to participate in the residency program, the Sandhills Institute. This project, compared to the Volland project, possessed a much larger square footage. This presented a problem completely opposite to the Volland Project. Rather than “how can the studio accommodate all of the necessary program into such a small structure?” the FACT project faced the question, “what does the art gallery do with all this space?” Both Mel and Patty were passionate about the rural community and it was decided that the space should be utilized to host community events and various community programs (similar to that of the Volland Store). In many ways the projects were similar, but in other ways they were quite different.

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CONSULTANT MEETINGS

Participants Alan Gast, Derek Porter, George Terbovich

Location Volland, Kansas

Date Recurring throughout spring semester

Summary

Architects can’t and don’t know everything about every aspect of a project resulting in the need to bring on consultants who are experts in their respective fields. Our consultant team has been a broad array of people that have helped inform and shape our project with their knowledge ranging from lighting to artist preferences to structural capabilities. In our case, some consultants were brought on for one session or meeting in which we acquired the information that we needed. In contrast, a couple of our consultants have been involved early on and continually provide their feedback and wisdom.

Without the cooperation and consultation of our consultants, our project would not have been possible or as successful.

In the beginning stages of the project, we conducted research on artist residencies, artist working behaviors and what we wanted our artist residency retreat to represent and facilitate. The people that we interviewed and talked to, artists that have been to artist residencies, art curators and artist residency directors, became our consultants on everything we needed to know to inform and shape our research, which in turn shaped the design. They provided first experience perspectives on the different type of residencies, the pros and cons of different residency features, what amenities were desired, the staff needed to upkeep the residency, the important separation of living and working spaces and much more that was critical discovery information.

These conversations and subsequent insight gained have been essential elements throughout our project.

Our other team of consultants have been on the technical side of design. Lighting expert, structural engineer and our construction site manager Don. These individuals have an ongoing established relationship with us and our project, continually providing their expertise on our design. Through their insight into specific fields of study they have been able to provide us with useful feedback and direction to enhance and develop the design.

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ARTIST INSIGHT PRESENTATION

Participants Lily Brooks and Jeremiah Ariaz

Location Volland, Kansas

Date February 12,2018

Summary From February 11th to April 29th, the Volland Store was home to an exhibit entitled SIREN CALL by photographer Lily Brooks. The photographs featured in SIREN CALL function as evidence of the ways in which we comprehend, negotiate, and mediate our relationship to daily weather and our changing climate. The photos that were a part of the exhibit helped to introduce the problem of climate change within the Flint Hills and brought up important discussions from the visiting guest lecturers. The guest lectures were presented by a multitude of people including Cynthia Barnett, the author of Rain and Jeff Davidson, Watershed Specialist at Kansas State University, Caryn Miriam-Goldberg, former Poet Laureate of Kansas, Chuck Rice, Distinguished University Professor at Kansas State University, and Judith Schwartz, author of Cows Save the Planet and Water is Everywhere; and Walter Jehne, Soil Microbiologist. Exhibitions like Siren Call being displayed at the Volland Store can teach people about critical things they might otherwise ignore, such as climate change. Thoughtfully shedding light onto critical issues like Lily does is important within rural communities because it allows for people to be educated on the issues without being too harsh. The experiences and interactions that rural community members have with the art presented to them takes immense consideration and is an important tool for the Volland Store to use for educating through art works.

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ACADEMIC PRESENTATIONS

Participants Students, David Dowell, and APDesign

Location Manhattan, Kansas

Date Grad Forum - April 6, 2018 Kremer - May 4, 2018

Summary

As a function of communicating our research and project development, the studio engaged in a number of academic presentations. The Graduate Forum, Architecture Professional Advisory Board, and the Kremer Competition are just a few of the main engagements that led the discussion on Volland and the impact of a newly formed artist residency program. Over the course of the Fall semester, the studio collected a large amount of data on artist residency programs and their operations, along with interviews of artists, curators, program coordinators, and locals in Matfield Green where the Tallgrass Artist Residency resides. Throughout these interactions, valuable data was gathered which would ultimately influence the resulting program proposal. The presentations to the academic professors, professionals, and students were a culmination of the data gathering, project proposals, and design strategies.

Many of these presentations began by introducing the background of the unique studio that Design+Make is in relation to other capstone studios that still work with hypothetical projects. The important relationship that highlights this, is the studio’s engagement with a real-world client to assemble a design proposal that would become a physical piece of architecture. The proposals that were assembled, along with the stories of how the studio arrived at the most resolved design, was a complex and intricate piece of these presentations. Many of the professionals, and professors responded positively to the project, which provided a strong indication of the correct approach to such a unique place and design proposal. The most interesting question that was received during these presentations was from a professor outside of the College, “Why did you decide to recreate an existing structure instead of tearing it down and building something new?�. This question resonated with many of the studio members and was one that had been pondered for quite some time while we were in the early stages of exploring Volland. The purpose of the design proposal was not to alienate the local community members but rather reintroduce a structure that has existed for nearly a century and provide a modern function that could be accessible by everyone who visited. The simple idea of constructing something new would disenfranchise the history and solidity of the place that is Volland. To support the redevelopment of a historical town in Kansas, a small intervention was needed to reignite the interest in the region. The overall positive response from fellow students and academics alike reassured the design proposal that was presented and pushed the project forward towards completion.

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REFLECTIONS

Throughout the year spending time in Manhattan, Kansas City as well as Volland, the entire studio has had varying experiences when interacting within the Flint Hills.

Our Design Communications credits that we needed to fulfill helped the members of our studio express the personal experiences that they have had throughout the fall and spring semesters of the Design + Make studio. The blog posts that we created individually served as important method of communication between the audiences that were able to read our posts. This year’s critical topic was the widening divide between rural and urban life, and the potential of the arts

and artists to help us all fall deeply in love with the world, and our place in it. This year, our studio was given the opportunity to discover areas of synchronicity and the mutual interests among diverse groups of people, while at the same time better understanding the nature of what separates us.

Architecture, specifically the process through which architecture comes into being, holds a unique catalytic power to propel people towards issues and ideas that transcend differences.

Sharing our blog posts on social media helped to educate other people that we are connected with on critical topics that we found throughout the entirety of the Design + Make studio year.

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https://oxecotton.deviantart.com/art/Kansas-Sunset-337836079

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THE MIDDLE OF EVERYWHERE

Author

Keegan Amos

Date

March 17, 2018

Abstract Visiting the middle of everywhere brings a unique experience for each individual.

When talking about the middle of everywhere to an individual who has never been, they usually perceive this place as empty and desolate. When in fact the middle of everywhere contains more than the eye can see.

It’s unlike anything one would expect to experience. It holds true to itself and remains desolate, as it has since its existence, seemingly untouched by man. When you travel to this place it’s as if you’re exposed to something new and unexpected each time. Upon each return you begin to slowly develop a love for the place, one that is unique to the characteristics it contains. Nothing like the love one may have for a city or town, or the comfort from your home. The hills here roll as far as the eye can see, as if they were to never end.

Almost falling off the edge of the world. Each visit to the middle of everywhere comes with unexpected events that seem to pull you back each time you leave. The middle of everywhere in Kansas truly is one of a kind.

The middle of everywhere differs from any other place you may go, though at first you wonder why you are even out there to begin with.

Some may think there’s nothing special about a

place seemingly so empty, but once you experience this place, you’ll never forget it and you begin to realize it’s not empty at all. The reminisce of homesteaders are still visible as you pass by many abandoned limestone structures and old barns, with the exception of a few ranchers still living off the land. The roads flow with the landscape they were paved on, keeping the experience of driving through it as natural as possible, rarely slicing into the land. Quite unlike visiting a new city where roads are just a means to an end. Not here, not in the middle of everywhere, where the roads carry you through the trees and over creeks, creating an experience unlike that of the roads in a city. In a city you can expect large buildings, cars laying on the horn, vast amounts of good and bad smells, and of course people. In the middle of everywhere the largest building is a barn off in the distance. A mere ant compared to that of a city building. You never have to “look both ways” before crossing

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a road because traffic ceases to exist. A passerby every now and then, mostly though a rancher and his tractor or flatbed work truck whisking by. No traffic lights telling you when to go or stop, or to signal you when to cross the street. Cattle, instead of people, can be seen grazing on the pastures that have held its roots since the glacial retreat, with the northeastern parts of Kansas and one-third of North America was covered in ice.

You can begin to realize that noise doesn’t live here either, only sounds. Noise in cities become a backdrop in your surrounding as you go through your day. Subconsciously processing it but never giving it any real attention until it matters.

Out in the middle of everywhere, sounds become important and more delicate. They help to create the peaceful environment that many animals thrive in. It’s of birds chirping around you which virtually go unheard in a city. They create original songs that are so peaceful, on the right day you want to lay in a field and purely listen as they sing above your head.

You can even stumble across a sound from a snake that is warning you to stay away before it strikes.

Pray to never be so unfortunate. There are the sounds of trees and tallgrass brushing up against one another as large gusts of winds sweep through the rolling hills. All these sounds and many more become carried through your surrounds, triggering senses that are different from that of a city. You are attuned to these sounds and is something you tend to miss when you’re back in a city.

Wind is also at it greatest out here is because there is nothing obstructing its path to carry the various smells that coexist. Not unlike the smells that pollute a city, like the smells of car exhausts, a dumpster in an alley, or someone smoking a cigarette on the side of a street. The smells that exist in the middle of everywhere are

more refreshing, depending on what the wind decides to carry that day. Sometimes the unpleasant smell from the herds of cows, or a skunk that was protecting itself from danger in the distance. But at least in the middle of everywhere your nose can pinpoint exactly where such smells may be coming from. The most important smell, which greatly differs from a city, is the simple smell of fresh air.

Filling your lungs with the virtually unpolluted air is one aspect that you may miss more than anything in this peaceful landscape.

There is one characteristic that surpasses any other in the middle of everywhere Kansas.

A scene that is so serene and perfect that you never want it to end. If freezing time was possible everyone would freeze it at the exact same moment after visiting the middle of everywhere for the first time. It’s not a scene that you are aware of when you first arrive at this isolated destination; you have to spend the entirety of the day until it starts to reveal itself. The middle of everywhere Kansas sunset will almost certainly be what you least expect. The sun is at its lowest and least powerful of the day as the it bounces its rays against the golden hills creating a rainbow of warm colors across Western sky. A moment where it seems time does stand still, putting you in a trance for a short moment before it disappears.

The middle of everywhere is a place you go to find solitude, to get away from all the distractions. It’s the middle of everywhere that brings you back down to Earth. Reminding you that there is life outside of a city, where you don’t need to live vicariously through your phone. It’s a place that doesn’t need anything to sustain itself beside what mother nature provides. The middle of everywhere is a place quite unlike anything you would ever experience.

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Photo by Gary Larson

Photo by Otto Kratzer

Prairie Settlement: Nebraska Photographs and Family Letters: 1862–1912

Meteo Blue: Climate Kansas City - model climate of populated region

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CONSTRUCTING COMMUNITY WITH DESIGN

Author

Nicole Bauknight

Date

April 2, 2018

Abstract Architecture is more than designing a building, it is shaping and creating communities. A building can transform the environment by the way it responds to its context, purpose, and history.

A building can do more than just shape space. It has the power to shape community.

Through design, a project can transform from a single entity to an extension of a community. A building that responds to its community is far more compelling and captivating in design, usage and presence than one that stands alone.

As designers, it’s important to expand our viewpoint from designing just a buildings physical attributes to include its surroundings; its characteristics that will contribute to its community.

People, place, history. Volland’s community has continually played an important role in shaping our design, scope and thinking. And in turn, our project will be a strong component of Volland’s community, as we are simultaneously designing for the now and planning for the future.

Every site location is set in a community.

Whether that community be a busy urban block or a field of cattle and wheat. As designers, it’s important to look around at the community that

you need to be accommodating for in your design.

For lack of consideration can lead to destruction.

Without considering the community context, a building can become a negative factor that doesn’t fit into the surrounding environment and doesn’t serve its community. Understanding Volland’s community and how our design fits into it is an ongoing, cumulative process.

There are many aspects to investigate.

Iterations proposed and discarded. Elements to incorporate and people to listen to. How as an architect do you balance all these differing components within one design? It starts with immersing oneself within the community. Starting off this project, we knew nothing about Volland or how Volland was going to evolve our project. But we knew that understanding Volland was the key to designing a successful project. And so we started getting to know the community that is Volland.

Within Volland, there are important communal elements. The open landscape to its

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West. The lone neighbor to its East. The Volland Store that stands as the gem. The old ruins and buildings that speak to its age. The railroad that runs through like clockwork and its first reason for Volland’s existence. This is the obvious immediate community of Volland. But Volland’s community expands outwards, incorporating other facets.

The Volland Store and its art exhibits attract people from across the nation who come and find a connection with Volland. Creating an Artist Residency Community will pull in artists from all over to connect with Volland. Other residencies in Kansas have connections to Volland as it is emerging on the art scene.

The community also includes the Alma community closely located down the road with people who have direct connections to Volland.

And it includes all of us who have our fingers in the design aspects of Volland, Design+Make students and professors. Volland’s extended community is defined by the infinite number of people that cross paths with it and plant its seed somewhere else.

Our design needs to respond to Volland’s vast community in a way that enhances and celebrates it.

To understand these connections and how they could transform our design, we started incorporating ourselves into the fabric. Attending art exhibits at the Volland Store. Exploring the natural characteristics of Volland through artistic site exercises. Analyzing present materials and how they shape Volland’s image. Interviewing locals, artists and others for their perspectives and stories. These ongoing investigations have shaped our understanding of Volland and its expansive community that we are setting our foundation on.

A design is shaped as much by outside influences, like community and context, as much as it will

shape and impact the future community and context once it’s erected. Our gathered insight into the heart of the Volland community informed our design process and expanded the design in different, beneficial ways.

While you want to listen to the community and recognize their needs in the program, as an architect you must think critically about their needs and present them in a designed fashion, mixing both purpose and design. Knowing what an art community needs and the culture of Volland helped define the larger scope of the project and drive design decisions.

The larger perspective of creating an Artist Community never left our sight as we developed the individual scheme. Keeping the character of Volland while incorporating new elements was a major driving factor. Preserving Volland’s natural beauty and views shaped orientation and placement.

Requirements for artists to live and work together helped develop the program and spaces. How visitors approached Volland shaped the exterior facades. Every bit of information collected was stored and integrated into the design.

Our building is designed to be one of many buildings that will hopefully be built in Volland in the not too distant future. It is the first in a series that will create the Volland Artist Residency Community. Its location is so that other buildings can be built within its radius to create a campus like cluster. We meticulously placed the building in the community, accounting for all the aspects that contribute to the community. Its spaces are created with the thought of people gathering in and around them.

We recognized that this building will not be in an isolated landscape and town for long. It encourages future development in Volland. It

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encourages Volland to expand upon its influence and foster more community development in Volland.

What must be kept in mind is that we are designing for people and those people are part of a community that will be impacted by our designs. To ignore the critical community influences that could enhance the design is denying its true potential and stifling its positive impact. While the process is more time consuming and arguably harder, the end result is more rewarding for everyone. It’s important to construct a community, not just a building.

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“Abandoned Places” by Fábio Araujo

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A QUIET BEAUTY

Author

Evelyne Chokkattu

Date

March 5, 2018

Abstract The character of Volland has been built up over the years and part of our approach to the Volland House Renovation is to learn and highlight the different layers that make up its history.

There is an understated elegance and beauty in Volland, Kansas that has survived and flourished through the years, with its most recent owners, the Reece’s, beginning to uncover and fine tune its qualities. It’s iconic store; has been transformed into a simple hollow shell of brick and stone, repurposed with provisions for town gatherings, displaying pieces of art, and the occasional dinner party.

With the Reece’s interest in further developing the property to be an institute for artists, writers, philosophers, and those alike, our studio, Design + Make, is now in the process of redesigning and renovating the North House as accommodation. It is the clear first step towards building the arts and humanities institute. A step towards providing a place for creative work to happen, or a sanctuary for whoever chooses to visit it in seek of a peaceful environment. An environment that the town undoubtedly can provide.

The layers of history as well as the

secluded location in the countryside are what make it a curious town to stay in. The ability to maintain and expand on these factors in the renovation of the house will be crucial. In a similar fashion to the Volland Store renovation, whose interiors have been modernized without losing its charm, our primary goal is to preserve and build off of the intriguing atmosphere of the house.

“Art is never finished, only abandoned,” Leonardo Da Vinci supposedly said, which may explain why abandoned places are a popular subject or backdrop amongst artists worldwide. From burned down houses to rusting railway stations and entire ghost towns, abandoned places have a haunting beauty and an element of mystery that draw people to them.

In his work, Fabio Araujo creates superrealistic images using photoshop, each work is built up of multiple layers. Each layer adds depth and realism to the story of the scene he creates.

Another artist, Rebecca Skinner, whose work

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I became interested in, also seeked out these types of places to photograph. Some photos are incredibly dramatic, you can imagine the sound of your footsteps echoing across the deserted spaces.

There is a sadness and loneliness in these images that also implores the viewer to wonder what happened?

The study of abandoned places can be related to one of the central projects of the humanities; to experience the world through the perspective of another person. In human nature, there is an intense curiosity about the lives of others, it’s part of the pleasure we get from art and literature. In Richard Happer’s book Abandoned Places, he explains that “...something about decay suggests human endeavour. There’s something about the fallen majesty of human hope that has an eerie beauty. It makes you remember the things that are still around you.” With the abandoned houses of Volland we were free to rummage through another’s home, their personal belongings, the things they chose to leave behind, and begin to paint a picture in our minds of the past -- of their past.

There is a feeling of intrigue and wonder in Volland, but only for visitors that choose to pay closer attention to the sleepy town. The questions that emerge from exploring a place like Volland causes awareness of details to skyrocket, because there is a desire to know the history behind the old walls - what happened here, and why, and to whom.

Once we were aware of its rich history, it became more apparent with each visit that the place had a thousand stories to tell, especially being privy to the behind the scenes of the town. The beginnings of Volland are displayed proudly; preserved within the scars left in the brick walls of the store; in the rumble and toot of the trains passing by; the cracks

of light that beam out of the blacksmith shop at night; all the dusty, old photo albums filled with smiling faces; and the ruins of the old house that burned down, now overgrown with weeds.

The most exciting time I have found is at night; when the feeling of isolation is at an extreme; stumbling around with a flashlight, surrounded by darkness and silence, but by simply turning off your flashlight and letting your eyes slowly adjust, you find some nights that the stars and moon are bright enough to light your path after all. But even throughout the daytime, the place has a similar effect on you - it creates a hyper awareness -- and that is what needs to be harnessed in the redesign.

This feeling is of awareness is created by the seclusion and privacy of the countryside; it’s minimal distractions of modern life. The setting allows you to focus on whatever task is at hand and also, in a way, heightens your senses. I imagine the humble living environment would allow the temporary resident(s) to appreciate the simple tasks of daily life.

The redesign aims to provide the modern needs of the resident(s) without harming the atmosphere and character of Volland, and to evoke the same feelings of intrigue and hidden secrets, that come with its rich history. When renovating the house, we must be careful not to peel away the essential layers of history that has given Volland its character. Using architectural design as a tool to tell a story, we will be able to build off of the character of Volland; its charm, history and quiet beauty.

The idea of encasing the porch in a glass facade is one design option that illustrates the goal well. It will gain interior square footage, give you a glimpse into the house, and more importantly it is designed to have a subtle, ‘light touch’ on the house that is respectful of and clearly distinct from

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old materials so that the house can maintain its layers of history that you cannot reproduce.

In order to visualize each design option, renderings become a crucial part of the design and review process. Renderings have the ability to illustrate and highlight the design concept and goals. With the major goal of this project being to preserve layers of history Photographs of the house and site are integrated into the renderings as much as possible, so that the natural textures and imperfections bring the image to life. By including the flaws and imperfections we can capture the essence of the place and its history. This also helps illustrate the fact that we are making modifications to an existing house, rather than building anew.

Photo by Karl Ndieli

Photo by Rebecca Skinner

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Desert Nomad House, Rick Joy Photo by Modern

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THE BEAUTY OF DETAILING

Author

Lucas Downes

Date

April 16, 2018

Abstract Details are often thought of as a simple necessity when designing architecture; however, for designers like me, detailing is an opportunity to problem solve, express myself, and enhance the experience of the project.

A detail is defined as a small part in relation to a larger whole. While this is a seemingly vague definition, detailing can take on a multiplicity of forms. Whether it is a construction detail, a small moment where two contrasting materials join together, or simply custom hardware on a door, architecture is essentially made up of details. Details are often thought of as a necessity in designing, but for the more creative architect, they’re countless opportunities to elevate the expression of a building.

The French architect Gustave Flaubert is credited with saying “Le bon Dieu est dans le detail”, or “God is in the details” in English. This phrase was later adopted by German architect Ludwig Mies Van Der Rohe, a designer who went to great extents to beautifully detail his buildings. Both of these architects realized the magnitude of impact even the smallest detail can posses. Detailings history has maintained a close relationship with the history of architecture, constantly evolving as technology and styles progress. As building elements changed

from wood huts, to stone, to steel, details have had to adapt to these materials. As society advanced and architecture became a profession, designers began to look at detailing as an opportunity instead of simply a piece of construction. Detailing has also been highly influenced by technology.

Beginning with hand drafting, or renderings on paper, the aid of computer programs has allowed detailing to become more accurate, unique, and functional. Though detailing has evolved over time, its method of design hasn’t changed much. The process of creating a detail condition is an iterative one, a trial and error procedure. After centuries of this exercise, architects have a firm grasp of most necessary conditions; however, the more aesthetically based and experiential situations require a more inquisitive design approach. A good detail is derived through sketching, modeling, and mockups. Sketching pulls the idea out of the designers head, putting it on paper for feedback, critique, and preliminary iteration. Often, the

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detail necessitates a mock up, or test to see if the plausibility of the detail holds solid ground. These mockups can test constructability, effectiveness, or aesthetic of a details intention. The effort that must be put into a good detail is extensive, but that effort is what makes a project exceptional rather than average. Details can afford an architect moments of expression in projects that are intended to exemplify other objects, such as artwork in museums or a beautiful landscape. A good detail can provide an avenue to juxtapose a historical element and a new one, allowing the project to be respectful to the past while making its own statement. Similar to this, two opposing materials can become one joined fabric with the right detailing. Clashing materials often prove difficult to place directly against each other, but with trim or a reveal these materials can exist in harmony. Regardless of its context or design intention, detailing has had a long history to prove its importance to architecture.

Though detailing is often forgotten in today’s architecture, many architects, past and present, revel in the opportunity to create these moments. 19th century architect Carlo Scarpa is one the most notorious designers when it comes to details, saturating his works with countless features. One of his later projects, the Brion Cemetery is a perfect example of his detailing skills.

The project, primarily concrete and brass hardware, is a beautifully serene place, evoked through the subtle, yet powerful details found in every corner.

Detailing can also be used to blend architecture with nature. Arizona architect Rick Joy masterfully hides his works in the beautiful scenery that surrounds them, using materials such as corten steel to merge built forms with natural forms. This materiality, combined with carefully selected views, results in profound pieces of architecture.

Much like the delicate desert landscape Joy works in, the small town of Volland also holds a beautifully fragile landscape and culture. Building in such a unique context forces our studio to carefully detail our project. Renovating a historic piece of architecture requires careful thought and investigation into the way in which our intervention lives within such an important piece of Volland’s character. Our studio implemented “rules” to ensure that what we build will be functionally while not imposing on the existing structure. Through mindful detailing, our project is able to possess its own unique character, while respecting Vollands history. For example, one of the primary rules we applied is a restraint from building up against the existing walls of the house. This rule led to the difficult process of packing all the necessary program into a small core, all while maintaining spatial qualities needed for living, sleeping, and eating. While this rule has maintained its importance throughout the project, it had to be broken in a few circumstances.

However, any deviation from this rule must be for the sole intention of exemplifying the surrounding context. For example, the original porch was small and unusable, but through a contemporary intervention, we can allow the confined porch space to seem larger and more usable. Furthermore, by removing one unfunctional window and replacing it with a larger modern aperture, we can connect the home back to the Volland store, the houses, and the surrounding nature. These departures from our rule, when thoughtfully detailed, allow us to create something special, all while respecting Vollands historic integrity. The importance of detailing has been proven by countless projects, executed by architects that embrace the potential of a detail.

However, it is just as important to understand the appropriate amount of time and resources a detail

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should be given, a lesson our studio is becoming quite familiar with. A designer must know when to thoughtfully create a new and interesting detail and when to use tried and tested details.

Timeframes, budget, and expertise all play a factor in this decision. If scheduling puts too much of a constraint on a project, a designer may not have time to take advantage of an opportunity, resulting in standard details or pre designed components one can purchase. If a projects budget is becoming too tight, a detail may be too costly to mockup or have a professional manufacture. This again leads to prefabricated components. Our studio experienced these constraints when we considered attending a concrete workshop that would teach us how to create furniture out of finished concrete.

Though this could have provided an exceptionally interesting moment in our design, though schedule and budget became an issue as we struggled to find the funding needed. While our design will use many pre designed and manufactured elements, our studio does plan to create quite a few of our own. This provides the opportunity to improve our welding and shop skills. This allows us to elevate our level of expertise, a factor that can also be detrimental to detailing. Many designers and architects would love to spend years designing every moment in a project; however, working under real world factors can often make this impossible.

Though detailing can be thought of as a necessity, it should be thought of as an opportunity.

Whether it’s a beautiful landscape, a place to remember lost ones, or an emerging community, the importance of detailing is immeasurable.

It’s what makes a project unique without being imposing, it’s what makes a building comfortable for its users, it’s what designers like me live for.

Casework Mock-up built by Dipen Patel and Amber Summers

Photo by Damian Trostinetzky

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SHEDDING LIGHT ON ARCHITECTURE

On March 29, 2018, Derek Porter from Parsons School of Design visited Kansas State University and spoke about lighting design to students in the Colleges of Architecture, Engineering, Human Ecology. He explained the importance of light as a phenomenon and force that interacts with other things. It flies through space that cannot be seen until it hits a surface or modulates a form or articulates a color, one is not aware of its presence. It is always working in unison or in partnership with something else. He elaborated that metaphorically lighting design is equally linking to other disciplines of design. His pshycology studies in dynamical systems model explains the relation of the body, mind, and spatial context. Within this physiological model the human body, as the host, experiences and codes the world using the five different senses; sight, sound, taste, touch, and sent. It oreintes itself using the body and its senses as an extension of the psych to navigate and achieve locomotion. This connection

Author

Jonathan Eden

Date

April 4, 2018

Abstract

Lighting has a direct influence on building design. Combining general, task, and accent lighting creates unique experiences of space by illuminating openness, work areas, and specific details. Proper lighting design incorporates contrast. Where there is light there is also darkness. Not only is the attention to what is illuminated important, but the consciousness of what is dark is also to be designed.

of the psych and the host creates an understanding of context and connection.

Architecture, as the built environment of the world around us, relies on these five senses to be fully understood and explored. Although all five senses contribute to the interaction with the built environment, sight tents to be the most important sense that impacts the perception of architecture.

The human eye can give us a direct recognition of the place in witch we find ourselves. Since sight is such an influential sense of how one interacts with space, one of the most imperative aspects of architecture is light design to help everyone see the structure and space.

Architecture is designed to be seen and good lighting design is a balance of both light and dark. It is crucial for occupants of buildings to be able to understand and navigate through spaces.

To achieve successful lighting plans a combination of general, task, and accent lighting are blended.

The rule of thumb for general lighting levels are

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to design for 30-50 footcandles throughout the structure. This level of light is adequate to allow for good visibility to move about the space. Task lighting is used for additional illumination in areas of work, focus, or pleasure. This light level is dependent on the task for which it is being used and can range anywhere from 50-300 footcandles. For specific building types and programs such as art galleries, performance venues, etc., accent lighting is used to display specific items. Accent lighting is also useful in highlighting circulation paths, design details, and areas of importance.

While most would only think about illumination when designing a lighting plan, it is equally as significant to consider the absence of light.

Creating contrast makes a space more interesting and provides the occupants with a feeling of depth.

Being in a space that is only concerned with light is both non-dynamic and overbearing. Providing relief with the absence of light in specific areas allows the eye to relax.

It is essential to know the science behind lighting plans, but true lighting design incorporates both information and conception.

Lighting design of the Volland House has been an interesting exploration. The story of the lighting design so far is a simple one. The goal is to provide enough lighting in the space to allow the guests to use the space, but not too much so that the space is pleasant.

Flexibility of lighting options so that patrons have control over how much light there is and permitting them to change between tasks of cooking, reading, writing, or forms of artwork.

The general lighting has been hidden inside the walls of the core of the house. This core represents everything new in the house, so it was fitting that the new lighting should live within these

walls. Pushing the lighting into the top of the wall then allows for the volume of the space to read as uninterrupted grandeur. Suspending fixtures in the small space would take away from the open space of the vaulted ceilings. The task lighting is all operable and movable so that the occupants may change where the lighting is and how much light is in what location based on the task at hand. The wall lamps on either side of the bed, floor lamp in the living area, and operable pendant light located in dining and work area all adjust to the user.

A thorough and complete composition addresses every sense the body uses to experience the world. Lighting design is one of the most direct ways to impact the sense of sight.

Treatment of light is one of many aspects of holistic architecture.

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Ljubljana City Museum Photo: OFIS arhitekti

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ARCHITECTURE AND ADAPTIVE REUSE

Author

Angel Llanes

Date

March 23, 2018

Abstract Architecture consists of three major project types, however one, adaptive reuse, should become a more common project type because it has the ability to retain regionalist characteristics while integrating modern accommodations.

“Architecture should speak of its time and place, but yearn for timelessness.” - Frank Gehry

In the modern era there are three general types of architectural projects; new construction, restoration, and rejuvenation. It would seem to me that the most challenging yet the most rewarding types of projects tend to be rejuvenation, better known as adaptive reuse. Yet in the current design world, this is not a typical approach to a project mainly due to time constraints, difficulty of design approach, and namely, overall investment.

Throughout our secondary education as architecture students, we are commonly prompted with new construction project variants.

This is common, especially in earlier years, as an easy approach to learning the process of design development while providing creative license to students. This approach does not account for many factors of existing site conditions and usually foregoes realistic design considerations. In the real world, the prime type of real estate for any designer

would be a clear plot of land, a clean slate if you will. New construction projects are commonly considered perfect design opportunities because they have very little limitations on typology and design approach. There is no doubt that most of the starchitects revered around the world are hailed for their design methods in new construction.

Realistically however, budgets, owners, codes, environments, and site relationships, all play an important role in an architectural project, but existing structures are typically overlooked or removed in favor of new construction.

Restoration is defined as “the action of returning something to a former owner, place, or condition.” In architecture, the general understanding of restoration work is that it is long and arduous, and not typically approached by most firms commonly due to this tedious, lengthy process.

Ultimately, restoration work is achieved by specific focused organizations that specialize

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in historical vernacular architecture. Not all restoration projects are lengthy though, they tend to depend on the age and condition of the building.

Projects such as the 860 – 880 Lake Shore Drive originally designed by Mies van der Rohe was renovated in 2009 by Krueck + Sexton Architects.

Restoration work can be rather fulfilling depending on the designer in question; however, it is not often that an architect would describe a yearning to restore buildings to their former glory.

As designers, we are influenced and challenged in school to assess the modern vernacular design approach and push for progress and innovation. The world is constantly changing with technology and construction approaches which is why schools consistently encourage students to critically examine the current modus operandi. We are expected to challenge the established typologies in search for newer design concepts and methods.

Which leads us to what should be considered a common typological design approach, architectural rejuvenation, aptly named Adaptive Reuse. There is a very distinct difference however, between adaptive reuse and restoration.

Adaptive reuse has been an architectural typology for ages, yet it is not the typical project approach when presented with the opportunity. It goes back as far as ancient Roman and Greek structures. The Parthenon, one of the most famous Greek temples on the acropolis in Athens, was once a temple to the goddess Athena. After all pagan temples were closed in the mid 5th century, it was later converted into a christian church in the mid 6th century. It was converted again into a mosque in the 15th century after the Ottoman empire invaded Greece.

Photo by Hagen Stier

Photo by Getty Images

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Similarly, Hagia Sophia in Istanbul, formerly Constantinople, was also converted from a Byzantine church to a mosque over centuries of reconstruction and redevelopment after fires and earthquakes. The conversion of a structure’s original intended purpose into a new function is ultimately the goal of adaptive reuse. In the process, modern additions and construction techniques take place to reinforce and clean up aesthetics and structure within the shell of an existing site.

Photo by OTH Architecten

It has become more common in many cities across the United States, but many times, old structures are reduced to rubble in favor of a clear plot to redesign a new structure. In many urban environments this begins to make sense such as in New York City, whose population has consistently been rising over the past 10 years. In this instance it is necessary to demolish smaller structures in favor of much larger capacity ones.

Many cities though, have large industrial districts that are becoming hotspots for new residential areas, creating new spaces for people without the strong need for a severe increase in capacity. Such as this project in Amsterdam, Netherlands where

an existing abandoned shipyard was repurposed into a commercial office building. These existing zones are not commonplace nor is there a need for increased capacity in places such as Kansas.

Our studio was presented a strong challenge with the re-envisioning of a 1930’s kit house in Volland, Kansas. As with many projects, the majority of our studio first stepped onto the site in Volland and immediately dreamt of a new structure embracing the open landscape. We looked past the ageing structures in front of us in a conditioned mindset conceiving of design from a blank slate.

Our design education encouraged us to focus on the prospect of new construction when realistically, it was not necessary. When asked to identify the houses which rested quietly lining the road, a bit of shock and disappointment set in as the reality of the existing environment dawned on our studio. That moment, however, began slowly shifting the mindset, beginning our descent into what would become a project more valuable than any new structure could possibly have hoped to achieve. The need was to accommodate modern living functions as a temporary dwelling for visitors, or artists for an artist residency program. This house presented one of the strongest challenges of my own design career thus far. Even though the house is 576 square feet of space sitting in a largely uninhabited environment, it has become a uniquely difficult undertaking. The sheer number of design approaches and models outnumbers any design project before throughout my time in architecture school. As a studio, we discovered nearly 100 different ways did not truly encompass the nature of the house. As Louis Kahn said, “You say to a brick, What do you want, brick? And brick says to you, I like an arch. And you say to brick, Look, I want

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one, too, but arches are expensive and I can use a concrete lintel. And then you say: What do you think of that, brick? Brick says: I like an arch.� We must embrace the environment of Volland and the character expressed by the house. Our early design concepts did not truly embrace this necessary design influence.

We pressed forward reducing the design to a simple free plan with a condensed core nestled towards the northern corner within the house. As the details began to settle, the realization of the design far outweighed what new construction would have introduced to the site. The relationship of the local vernacular architecture embraced Volland beyond what a newly design structure would.

Yet it had the flare of a modernized interior that challenged the preconceived ideas of accommodation spaces in rural Kansas. The project that has been most challenging but, in the end, far more rewarding with its resulting design came to be this adaptive reuse project.

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as any designer knows. We can admire present-day construction and imbue existing historical districts with modernized living conditions to recognize the richness of the history in these places while inhabiting them. The character of these existing districts creates a sense of unique individuality to places, while the integration of new construction within them provides substantially higher quality living and working environments. This is design as it should be approached, recognizing history and embracing the future.

The hurdles faced by designers is generally incomprehensible from an outsider’s viewpoint, but within the profession, there is still a mindset that needs to be enlightened. It would become a future that no longer envisioned brand new structures as the sole pinnacle of architectural design. The field would embrace the challenge and fully comprehend the benefits of rejuvenating structures through adaptive reuse. The challenge is to encourage architects and designers to undertake the obstacles of these projects by looking at them less as a time and money commitments and more as a rare opportunities to create something uniquely beautiful.

“As an architect you design for the present, with an awareness of the past, for a future which is essentially unknown.” -Norman Foster

The question remains - why adaptive reuse?

A design approach considered to be standard by a firm with new construction is typically consistent within that project type, however the challenges associated with adaptive reuse are unique to every project. It becomes a relationship between history and the present, however the integration of modern design within historical architecture is no easy task

Work Cited https://www.archdaily.com/2967/kraanspoor-othontwerpgroep-trude-hooykaas-bv https://www.archdaily.com/59487/ad-classics860-880-lake-shore-drive-mies-van-der-rohe https://www.archdaily.com/3840/extension-andrenovation-of-the-ljubljana-city-museum-ofisarhitekti https://www.brainyquote.com/

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LISTEN TO THE LIGHT

Author

Tanner Lopez

Date

March 9, 2018

Abstract A tuning device is an activity or identifier that can be manipulated to learn more about a subject. Using concentrated light in the middle of the night allows one to focus on a certain detail without the distraction of its surroundings.

An architectural designer must become familiar with the surroundings of a project so that they might capitalize on its opportunities while preserving what truly makes a place special.

Learning the characteristics of a historic place does not come quickly. The most apparent factor that helps one attain this information of place is time.

Spending time in a place to learn what makes it special is an invaluable foundation that is necessary before truly peeling back the curtain and seeing it for what it truly is.

A tuning device is an activity or identifier that can be manipulated to learn more deeply about a subject. In implementing the tuning device not only does the creator learn but others who observe or interact should also be questioning their experience and what they believed they once knew to be true.

With a time based foundation of getting to know a place set, we were pushed to learn more about the characteristics that make Volland

and what opportunities it had to offer. Carlos Scarpa said he was “Controlling the execution and expression of details“ , when asked why he walks around the construction site at night with a flashlight. The flashlight is a tool by which is achieved an analog of both the process of vision and the eye’s movement in its perception field.

(Frascari) Creating an environment that gives the investigator of place, total control over what the audience focuses on allows only the most important characteristics from the best perspective to be observed. It is in the act of investigation and creating this environment that one learns the most about a place’s true characteristics. What could be learned about a place through this exercise? What can be translated to a larger group of people to better understand a place? We didn’t know what we were looking for but we knew it would be a different experience from walking around during the daytime and in that we would discover something.

The dusty country back roads engulfed in

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darkness led us to our destination. With anxiousness and excitement building upon our arrival we exited the vehicle with open minds and open senses to the unfamiliar environment. Dark silence. An extreme of the two, created a calming sensory experience. As if the drive had prepared us to escape our everyday lives as students in Manhattan, and inhabiting this obscure environment forced us to be hyper aware of our immediate surroundings. Packs of howling coyotes in the distance caused our adrenaline to rise thus becoming even more receptive to the blackness surrounding us. The lack of cloud coverage lent us to see a stunning star populated sky, a wonder that is not observed by many due to the excessive light pollution in metropolitan areas.

Our first observations had been made and we had yet to begin the exercise. The flashlight was turned on and everyone’s attention was instantly focused to its beam and the object it was illuminating, the railroad. The ability to solely focus on the railroad without the backdrop of the flint hills was interesting. The railroad is the reason for Volland’s existence and growth over time as well as the town’s downfall, when trains were no longer being used as a major mode of transportation around the Flint Hills. We had realized the importance of the railroad before, but isolating it in darkness with only a small flashlight allowed it to exist in an eerie separation from the rest of the city. This isolation that was created successfully allowed us to observe the railroad in greater detail and further our understanding of its relationship to Volland, both spatially and hierarchically amongst its defining characteristics.

The evening continued in this manner.

We slowly walked around the town controlling the concentrated light to focus on a detail that we were interested in or questioning. With a few more trips

and a key factor of time spent in the place, it was in this manner that Volland slowly revealed its true characteristics to us through light and darkness.

This provocation is intended to inspire the activity of an alternative sensory experience that causes inquiry and certain moments of understanding. It is only in changing the light in which we see that we can begin to have a deeper understanding of what is thought to be known.

Work cited Frascari, Marco. “The Tell-the-Tale Semiotics 1981, 1983, pp. 325–336.

Detail.”

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DIVISIVE COLLABORATION

Author

Karl Ndieli

Date

February 8, 2018

Abstract

The DM Studio functions uniquely in that it forces you to collaborate in a self sacrificial format in order for the best results to be attained. As a result of the fact that there is no hierarchy in the design of the project, students are bound to butt heads but the result is always the best iteration of whatever architectural avenue is being explored.

Initially, I expected the design studio to be a collaborative haven; an academic year that I could use to improve my collaborative skills while simultaneously refining my hands on experience to better equip me for the work space after my graduation. Having received a little bit of insight from the students that preceded me about the workings of the studio, I anticipated a smooth seamless workflow amongst my peers, but I couldn’t have been more wrong. Instead what I’ve continued to experience is a repetitive and slightly abrasive venture that in turn slowly shapes my character and that of my peers around me, into more seamless pieces in the puzzle of the studio’s workflow.

I suppose that this abrasive yet therapeutic workflow is as a result of the the lack of hierarchy in the studio. In my experience, for decision making to take place and for there to be a smoothness in procession of workflow, there needs to be hierarchy. Take a classic architectural workplace for

example. One’s position in the office determines the purchasing power of his decisions. Generally, the opinion of a Project Manager would have more gravity than that of an Intern Architect. In contrast, the way the design make studio is set up, everyone has an equal amount of purchasing power when it comes to decision making. The consequence is a very tedious and slow design process that results in a trickling rate of development.

At the beginning of whatever design process we’re engaged in, each of my peers brings forth their resolution to the design riddle and we begin to attempt select aspects from each scheme that solve certain problems in the overall puzzle. The qualm with this is that my peers, including myself, become personally attached to whatever they’ve brought to the table. As the design begins to unfold and better solutions are found, it becomes increasingly difficult to let go of unsuitable solutions for the now evolved project.

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habit of unhealthy criticism. When it charette time approaches, individuals are more likely to point out bad ideas and dwell on those rather than highlight the promising aspects and find ways to inculcate them into the general design.

As some sort of vendetta or revenge for the rejection of previous ideas, particular classmates are more likely to disregard entire ideas as a result of the fact that it may contain bad aspects despite the fact that segments of said ideas may be crucial to fold into the design. As I stated before, these design disputes would easily be overcome in a workplace because the oversight of a manager would neutralize the trivialities in order to facilitate productivity. Despite the fact that the repetitiveness may seem unproductive, I believe this tedious process is essential to continue to further prepare us for a more collaborative design process that we may encounter as professionals.

After engaging in this sort of design process multiple times over the course of the last year, I have observed that each individual in the studio has begun to feel less individual ownership over projects and have begun approach projects from an angle of ‘We’ rather than ‘I’. This lack of individual ownership may be considered a serious problem to some, but I’d like to again highlight the unique working condition that we find ourselves in this studio. In my opinion, the presence of conviviality towards the design process allows for a more streamlined and productive workflow.

However, this unification is only the beginning in terms of achieving the goals for the studio.

Not only is the studio tasked with the duty of improving our collaborative workflow, but the end results of all our mental exercises has to be Word Class Architecture. To ensure that this takes place, a couple of extra steps have to be taken to

solidify the outcome. The distribution of not only tasks but leadership positions. By giving individual studio members agency over certain aspects of the design, we’re able to ensure that a final decision can be internally arrived at without much dispute.

Divvying up control over certain aspects to each member of the studio allows each student to satisfy the need to be perceived as a valuable member of the team while simultaneously streamlining the decision making process in the studio. Despite the fact that the uneven distribution of agency or responsibility may lead to more dispute I think the overall outcome is that of a positive effect.

Being in the final leg of the studio it’s been very interesting to watch as a much more streamlined collaborative process has emerged out of the former more abrasive workflow of the studio. As a studio we’ve been able to take control of certain aspects of the studio workflow but we’ve been yet to find a way to evenly divide the agency over certain programmatic requirements. The final goal is to create a piece of architecture that exudes uniformity and cohesiveness. I think we’re finally getting closer to hitting that nail right on the head.

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habit of unhealthy criticism. When it charette time approaches, individuals are more likely to point out bad ideas and dwell on those rather than highlight the promising aspects and find ways to inculcate them into the general design.

As some sort of vendetta or revenge for the rejection of previous ideas, particular classmates are more likely to disregard entire ideas as a result of the fact that it may contain bad aspects despite the fact that segments of said ideas may be crucial to fold into the design. As I stated before, these design disputes would easily be overcome in a workplace because the oversight of a manager would neutralize the trivialities in order to facilitate productivity. Despite the fact that the repetitiveness may seem unproductive, I believe this tedious process is essential to continue to further prepare us for a more collaborative design process that we may encounter as professionals.

After engaging in this sort of design process multiple times over the course of the last year, I have observed that each individual in the studio has begun to feel less individual ownership over projects and have begun approach projects from an angle of ‘We’ rather than ‘I’. This lack of individual ownership may be considered a serious problem to some, but I’d like to again highlight the unique working condition that we find ourselves in this studio. In my opinion, the presence of conviviality towards the design process allows for a more streamlined and productive workflow.

However, this unification is only the beginning in terms of achieving the goals for the studio.

Not only is the studio tasked with the duty of improving our collaborative workflow, but the end results of all our mental exercises has to be Word Class Architecture. To ensure that this takes place, a couple of extra steps have to be taken to

solidify the outcome. The distribution of not only tasks but leadership positions. By giving individual studio members agency over certain aspects of the design, we’re able to ensure that a final decision can be internally arrived at without much dispute.

Divvying up control over certain aspects to each member of the studio allows each student to satisfy the need to be perceived as a valuable member of the team while simultaneously streamlining the decision making process in the studio. Despite the fact that the uneven distribution of agency or responsibility may lead to more dispute I think the overall outcome is that of a positive effect.

Being in the final leg of the studio it’s been very interesting to watch as a much more streamlined collaborative process has emerged out of the former more abrasive workflow of the studio. As a studio we’ve been able to take control of certain aspects of the studio workflow but we’ve been yet to find a way to evenly divide the agency over certain programmatic requirements. The final goal is to create a piece of architecture that exudes uniformity and cohesiveness. I think we’re finally getting closer to hitting that nail right on the head.

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NAVIGATING THE KIT HOUSE TERRITORY

Author

Dipen Patel

Date

March 7, 2018

Abstract Could you have really ordered a house by mail? How would this be possible?

Everyone seems to have their own take as to how these homes were built in Volland.

In order to finally put an end to the debate, this blog combines the evidence needed to prove the existence of a kit house.

As soon as I lost cell phone signal, I knew; I knew that this would be an unfamiliar place, somewhere I wouldn’t normally explore. It’s funny how our mind works sometimes, drawing conclusions based on things you have experienced or seen. Often times we can be surprised by a person or a place when our assumptions turn out to be different than reality. As my navigation system told me to turn right, I couldn’t help but wonder where I was going as the familiar sounds of a car’s rubber tires against the pavement gave way to a gravel-paved landscape. My cruising speed slowed down to a mere 20 mph and my mind began painting a picture of a movie scene. Finally, I heard the navigation say those magic words, “your route guidance is now finished,” while I turned down the only road in Volland, KS.

This time, my mind wasn’t crazy, and I wasn’t making the wrong assumptions. Although this very first memory of Volland is from a few months ago, I can still recall it today. It is safe to say

that my first impressions of the place were not so great; after all I was never a farm boy. I grew up in a suburb of Kansas City and to be in rural America like this was quite odd. Everything about it was uncomfortable, and the only things that seemed to make sense were the Volland Store and Railroad, whose trains flying by every so often would still help give life to this place.

I remember the subsequent weeks clearly and my curiosity with this peculiar place grew. I wanted to know more about the inception of Volland and what drew people to this place which I myself did not find appealing. After searching in the library, conducting interviews, and researching online, it became clear to me that the town was established due to necessity: a place for cattle to be loaded onto trains, bound for Chicago slaughterhouses and a place for steam engines to deliberately rest.

Volland, as was the case with many other towns in Kansas, was established conveniently at a place along the tracks where steam locomotives must

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stop to allow their engines to cool down before continuing their journey. The Chicago Rock Island & Pacific company had created a depot in Volland in the mid-1800s which helped the stop become a shipping point for cattle moving in and out of the Flint Hill pastures. The Volland store was erected by the Kratzer brothers soon after and the store fueled life into the town until the mid-1950’s.

This still left an open interpretation as to how the other residential structures came to be.

No matter where I looked, it seemed that everyone had their own take as to how these homes got here. It became clear that there had been some modifications to the original homes, mainly in the form of additions to accommodate a more modern family. Some believed the original homes were “kit homes”. I didn’t think much of that phrase at first, but my curiosity led me to post on basecamp (the classes communication forum) describing my findings. While some colleagues were skeptical that homes in Volland could have been kit homes, a case study on House #1 only shows overwhelming evidence to prove it as such.

Is House #1 truly a kit home?

To understand if this myth is truly confirmed, plausible, or busted, I set out to research the kit house. An article written by Kate Wagner in McMansion Hell outlines the steps in determining if a home is a kit model. These homes were basically a house that you could order from a catalog, and have it shipped to your building site, where “every piece of lumber, siding, doors, windows, columns, etc. were produced to exact precisions in a factory, numbered for easy assembly, and sent to the site by rail.”1 Here is the evidence that House #1 in Volland is, in fact, a kit house: 1. Time Period Most kit houses were sold as affordable homes at a

time where most middle class families were living in “townhouses, tenements, or a rural, agrarian setting” 1. These kit home catalogs became so popular with the new invention of mass production that any average middle-class family could now afford their own home. Kit homes reached their peak popularity during the early 1900’s, in places like Volland which would be the perfect candidate.

The store and town were just coming into focus and as the population grew, folks were looking for a place to live.

2. Delivery Method The close proximity of the railroad is a major sign that the kit home was a likely choice for Volland residents. These homes were typically only delivered by the railroad since infrastructure & technology was not yet that advanced (yes, we take Amazon Prime for granted). It is safe to assume that these orders would be delivered to the railroad depot within a few weeks as soon as the houses would be ordered from the catalog. It is much harder to know how they lifted these pieces of housings to the building site, but it can be assumed that they were shipped in smaller packages for delivery by horse and wagon or even automobile. House #1 is approximately 500-600 feet from the railroad line and in that era the kit house could have been transported to its current location.

3. Markings Perhaps the biggest sign of a kit house is the markings used to stamp the different components of the home as “each kit contained 10,000–30,000 pieces of house and the framing members that were marked to facilitate construction”.2 Much like an Ikea furniture set today, these markings helped the average person build the house using the set of instructions that would come with the home. As we started to deconstruct the interior of the house,

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it was clear that this home was indeed a kit house.

Each layer and component that we peeled off the building had a unique stamp or code that indicated where each piece should go. The following series of images are proof of these findings.

A. Window & Door Trim The window & door trim was the first element to be removed and documented during the deconstruction process. While not every single piece was marked, it might have just been enough to mark 1 set, since mostly all windows in the house were repeated elements. Here you can see the markings “B309 SIDE CASING”.

C. Top Plate Exposing the studs also exposed the markings for the top plate, as seen here “TOP PLATE S11-8-3.

While there were no bottom plate markings, it is safe to assume that this could have been on the opposite side as it was nailed to the floor.

B. Typ Studs As the plaster & lath started coming off, the stud markings started to reveal themselves.

Most of these studs are marked with a label called “STUD S9” which was most likely used to indicate that they were to be used as framing members.

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D. Rafters These markings are a true sign on a catalog home.

You can see the different rafters labeled “Rafter D3, Rafter D4, Rafter D5”, as they vary in size, these rafters were most likely placed exactly to the catalog specs.

E. Roof Even the roofing pieces have been stamped and labeled. The picture on the left shows “ROOFS4B” indicating the wooden strips that were used to span between the rafters & hold up the plywood sheathing above. The image on the right labeled “ROOF-9-9-” were used to stabilize the ceiling as these 1x4’s connect the rafter to the ceiling joists.

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F. Shiplap Siding Through the marking “SHIPLAP S11” we can also confirm that the siding of the house is still original and has not been replaced. After tearing off the lath and plaster, this was one of the last markings that appeared. Similar to the window trim, the siding was not stamped on every single piece but since the pieces are similar, a few stamps were all that were necessary.

The evidence is clear that Volland, Kansas falls comfortably into kit home territory, and that House #1 is a kit house. I will continue my search for the model number and plans of this particular kit house, although an exact match may be difficult for various reasons. Most people assume that the only manufacturer of the kit house was Sears Roebuck; there were in fact many different companies that sold these types of homes in the early 1900’s. As we carry on towards completion of the project, we want to be sure to restore the kit houses’ original design intent that many people find so appealing.

We have already started to reach our goal by removing the additions that were tacked onto House #1 overtime. As we work on the house, we will continue to respect what came before us, while also incorporating current construction methods, techniques, & styles.

Works Cited 2. Wagner, Kate. “The Mail Order American Dream: An Introductory Guide to Identifying Kit Houses.”

McMansion Hell. January 09, 2017.

1. Thornton, Rosemary. “Do You Have a Sears Kit Home?.” The Arts and Crafts Society. 2007

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Photo from The Volland Store

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THE IMPORTANCE OF ART WITHIN RURAL COMMUNITIES

Having grown up in Frankfort, Kansas, a town of roughly 700 people, I feel as if I have a true understanding as to what composes the sense of community within a rural setting. Living in a rural environment allows for people to have a strong presence of familiarity surrounding them. The residents of small communities typically savor the fact that they are familiar with the other members that help to make up their community and the ways of life in which people who live there reside.

Often rural people have little to no access to art within their surrounding community compared to their urban counterparts. This can be due to the fact of where the rural environments are located geographically. If a rural community member has to travel a long distance to experience art, they are typically less inclined to expose themselves to the art if they have no particular interest in what it represents. This is why it is critical for rural towns to have some sort of artistic presence within their realms. The community of Volland is important

Author

Kaydee Seematter

Date

March 10, 2018

Abstract Although all types of communities create art, direct exposure to the arts tends to be shown to a exclusive audience, typically societies that are considered urban rather than rural. Within rural communities the need for thought-provoking art is important due to it enhancing interactions between the community members while educating them on critical topics.

because it is a longtime rural community that diminished and then was revived to yet again bring people together. Initially the community of Volland was created because of the railroad that runs through it and grew into a ranching community.

The establishment of a general store built and ran by the Kratzer Brothers in the town not only brought accessible goods to the small community but it also served as a gathering place for Volland and its surrounding residents. Founder of the Volland Store, Otto Kratzer was notorious for never being without his classic Kodak camera, documenting the community members of Volland while at work and play throughout their daily lives.

The Volland Store stood as a centerpiece of the community until the early 1970s when it closed after the death of its storekeeper, Otto Kratzer.

Despite its gradual decline following its close, the shell of the Volland Store stood tall and was noticed by a couple relatively new to Wabaunsee county.

Patty and Jerry Reece felt the sense of

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community the store once held and knew that they had to bring the store back to its former condition.

Following its rehabilitation and reopening in 2015, the Volland store now serves as “A Place for Art and Community” with its ability to bring in artwork from varying artists. There is a sense of community that is heightened during exhibitions in Volland that demonstrates how art and artists can impact rural communities. Although all types of communities create art, direct exposure to the arts tends to be shown to a exclusive audience, typically societies that are considered urban rather than rural. There are critical differences between art communities in rural and urban settings. In urban settings, there are typically more mediums of art that people have access to and in rural environments, if there is an exhibition at all, there are typically only one type of art medium displayed. In urban environments, people have exhibitions and installations in varying spaces and environments that they can typically visit more regularly. However, in Volland, the flexible exhibition space allows for all types of mediums to be shown. Aside from the Volland community, rural communities have an overall lack of exposure to various forms of art. Community involvement is critical for the survival of all types of art programs within rural areas because typically there are less visitors to their exhibitions. Within communities of all sizes there is a need for people to be brought out of their comfort zone. The bringing in of different mediums of art into rural communities is important because it can educate people on things they might not otherwise have direct accessibility to.

Exhibitions such as Siren Call by artist Lily Brooks displayed at the Volland Store can teach people about critical things they might otherwise ignore, such as climate change. Thoughtfully shedding light onto critical issues like Lily does

is important within rural communities because it allows for people to be educated on the issues without being too harsh. The experiences and interactions that rural community members have with the art presented to them takes immense consideration.

Lily describes her exhibition at the Volland Store this way, as “Photographs function as evidence of the ways in which we comprehend, negotiate, and mediate our relationship to both daily weather and our changing climate. In looking closely at the marks that are made-in the prediction of weather, the tracking of meteorological data, as well as on the landscape and human body itself-the work presents visual remnants of often-invisible forces. The resulting pictures describe our desire to know, see and predict what we cannot. As personal as it is political, the work addresses my own wonder and fear as it points to the fragility and hubris inherent in this tenuous relationship.”

With Lily’s installation being shown, it allows for further conversations to happen for the audiences and it also allows for more exploring of weather by the artists, poets, writers, and scientists behind the works. The art has a large impact on the experience that the viewers take away with them and the thoughts that are provoked. Bringing the community members to installations can help to enrich their established cultural backgrounds by enhancing interactions between the community members. Bringing the creation of artwork to the community of Volland through an artist residency program will be able to enrich the community culture that is long standing one throughout Wabaunsee county and the Flint Hills. With the production of art taking place in Volland rather than just being brought in, it could help to supplement the community involvement and could help educate the

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audiences even further. The community of Volland stands as a prime example of conflicting topics such as climate change in Lily Brooks’ Siren Call exhibition being shown to an audience that may not be completely receptive of changing environments and situations. However, rural communities are the perfect places for relationships like these to happen because of their comfortable nature that mediates the known and unknown situations.

Photo from The Volland Store

Artwork by Lily Brooks

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SOFT SKILLS

Author

Amber Summers

Date

April 19, 2018

Abstract

Throughout the Design+Make studio process there have been numerous situations that resulted with unexpected outcomes. There were certain expectations when beginning this project that were not quite met or that shifted during the year, but the learning experiences and soft skills gained have far exceeded any expectations.

As this studio is coming to a close there has been a lot of reflecting happening amongst the team. Beginning our last year the predominant reason this studio was selected was because of its unique ability to teach us the fabrication and construction process. The insight that can be given from completing a project from concept to full fabrication would be extremely rewarding and educational. Throughout this project I have been able to learn so much more than I anticipated.

While the skills I expected to gain are not as polished, the soft skills I have learned are equally as important and relevant to my future. This studio experience has allowed me to get a glimpse into how projects outside of school can run and how they can proceed. While this project has not turned out how I anticipated, the learning experience has been well worth everything.

Client Intricacies

My initial assumption was that the characters involved in an architectural project were

much more limited than they are. I thought there was one client, a team of designers, a few consultants, and a contractor. This was not true for this particular project. The client portion of the team was much more intricate than I initially thought. While there is the main client, whose opinion ultimately trumps anyone else’s, there are also multiple other people involved. I was surprised to find out how large of a group can become involved in such a small town.

The unofficial client to me was the community.

There were so many people with an interest in our intentions and progress of the project that could substantially sway the direction of the design. While this was initially a concern, due to the unknown feedback, it turned out to be a good experience that led to a clear decision on project scope. Learning how to navigate through large scale meetings of the community as well as the small informal meetings with the client allowed for a good education on diplomacy and communication within multiple circumstances. Being able to effectively articulate

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ideas and reasoning to anyone involved is a vital skill that has been strengthens throughout this project.

for collaboration. Struggling to communicate and collaborate, while inconvenient taught me more about teamwork and compromise in the long run.

Internal Relationships

One outcome that has come from this studio is the ability to collaborate in any scenario.

When entering this studio I fully knew about the level of collaboration that would be required and I looked forward to designing with multiple levels of input. What I did not expect is the amount of conflict that arose internally during the process. While there will always be people on teams that do not necessarily work well together, there should always be a level of professional respect given to a peer’s opinion. This issue that appeared was difficult to navigate and required a great deal of attention to go towards making sure everyone was being heard and contributing their insights. By dealing with this I learned how important it was to listen to each voice and understand the intentions. The ability to work with everyone is a skill that will get anyone far in this career. While is would have been much easier to work with a team that got along, working through our internal problems actually resulted in unique design decisions and a greater appreciation

Construction Process

Another aspect of the project that did not turn out as expected was the methods of construction. With having a brand new fabrication shop and working so closely with a contractor there was a general consensus that we would be able to learn how to use machinery and equipment that would make certain tasks quicker and easier. This however is not what happened. For the beginning stages of site work I was mostly working with the paint removal from the siding and with moving the pieces of concrete that had been broken up. Both of these processes could have been accomplished much quicker if we had access to power when we needed it. However, since we did not have electricity when we were ready to begin these tasks we had to go the extreme manual route. We were using sledge hammers to break up the concrete, when a jackhammer could have accomplished the same task at a much quicker rate. The same happened with the paint removal, we were out there scraping paint for weeks with any tool we could

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find that would not damage the siding. This could have gone quicker with the use of electric circular sanders but instead we had to take the slow and tedious route. Completing both of these site tasks while taking more energy and more time, it did allow me to appreciate the tools that we do have and to be innovative to reach a goal in multiple ways. Another time the fabrication process went down an unexpected course was with the prototype of casework. We had every intention to use the CNC machine to cut perfectly aligned pieces to be assembles of the cabinet. But, of course, the day we needed the machine it was malfunctioning.

This forced us to learn how to make the mockup completely by hand. While this process took longer and probably did not turn out as perfectly as it could, I am actually very appreciative of that process. I go the chance through this to learn more wood working skills and to really figure out how a cabinet goes together. I have truly learned that with construction, plans are great to have but flexibility is essential. The ability to change plans and be innovative is extremely important and can be translated to any situation in the future.

While this entire process has been prolonged past our realistic schedule, the lessons that have been taught are invaluable. The outcome of the project that we had all been hoping for will most likely be completed after the students’ timeline but the level of connection and pride for it still remains. In actuality, I have not learned as much as I desired about construction but the things I have learned I never expected and are just as important to my career and development. The communication, collaboration, and innovation skills I have acquired will greatly benefit me and are lessons that most students do not receive until they have entered the profession.

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REVERIE VS REALITY

Author

Austin Ungerbuehler

Date

March 15, 2018

Abstract The disparity between architecture school and the career field is a strong contrast, but the Design+Make studio makes allows students to learn in a hands on way that eases the transition to the career field. It also depicts a more realist approach the real world architects must consider.

Young architecture students go through school creating fanciful designs that, oftentimes, are logistically and realistically impossible. Picture this: the thin 1/8” basswood sticks (and Elmer’s Glue) of the up-and-coming architect’s model easily spans and supports the floor above with what theoretically would be a 1’x1’x40’ wood beam— perfect. Use a multi-million-dollar bioplastic material for a housing project? Why not? Sure, there’s a learning curve. And sure, architects must first learn how to design the very best project before they get into the nitty-gritty.

However, many students find themselves finishing their architecture schooling without ever having any sort of (meaningful) construction or budgeting experience, let alone experience interacting with a client. Design + Make might be a step in the right direction toward better education.

After spending some time this past year working on a real project, dealing with real cash and a real client, I’ve come to see just how different this

experience is than my past four years of architecture schooling. David Dowell, AIA, Design + Make’s professor straight out of el dorado, recently begged the question, “Does this feel like architecture?” He, of course, was referring to the process of creating a real structure up to that point. This got me thinking.

It certainly didn’t feel like what I was used to, but was this what architecture really was?

Architecture students are very familiar with limitations including the focus of a hypothetical program defined by a professor. We, however, have yet to be faced with such great limitations.

The studio initially felt confined by the “burden” of budget and client preference. This actually resulted in really thoughtful and contemplative thinking.

Just how can our studio create very effective and interesting architecture without possessing access to unlimited funds and implementing a noisy modern design aesthetic. Architecture really is brought to life when faced with such great “adversity,” which, in the end, is simply

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reality. George Nelson says that “Good design, like good painting, cooking, architecture or whatever you like, is a manifestation of the capacity of the human spirit to transcend its limitations.” This is architecture.

Walt Disney was also quoted saying, “It’s kind of fun to do the impossible.” It’s certainly been an enlightening and fun challenge to overcome this project’s bounds. Design + Make is well on its way to creating a subtly beautiful piece of architecture.

Moreover, architecture is in the details.

With a limited construction background, getting the chance to participate in selective demoing of the long-standing Sears Roebuck house taught me more than any technical architecture class ever could.

Even through tediously stacking bricks using different brick-stacking methods, I learned about the bounds and variations of the material.

I learned just how tough and labor-intensive the seemingly simple task of staking brick actually is. In the end, lectures can only get you so far.

Professional Practice certainly didn’t prepare me for hauling huge piles of shingles while fending off dozens of wasps.

Peeling back the house to its guts allowed me to really understand its construction, to really understand just how these various pieces fit together. In addition, the knowledge gained from this real-life experience is going to translate to future design projects I get to be a part of. When the design process progresses past the diagrammatic and theoretical, I will know just how thick the wall needs to be, exactly what different elements a roof consists of, and the structural limits of certain materials—not because I remember looking at example construction details, but because I

experienced the construction first hand.

A segment of Research-Based Strategy to Ignite Student Learning published by ASCD unpacked the following: “An ideal event-memory lesson would be one where students’ brains are stimulated by their participation in a challenging and engaging student-centered activity that simultaneously activates multiple sensory systems and executive functions as they strive to make sense of experience. The goal is to provide experiences that enable students to interact with knowledge in ways that arouse their physical senses and positive emotions, or to connect the new information with their past experiences and interests.” (Willis) Especially when discussing the sciences, experience is key to learning and retention! Architecture, of course, is both an art and a science.

The hands-on style learning currently implemented by architecture studios across the globe is by no means ineffective. Though, there’s always room for improvement, right? To me, the incredibly rare and very hypothetical projects that students receive in school act as a sort of sales pitch for architecture. In a sense, the school has been recruiting me to the field for five years by showing me the profession’s very best version!

Projects focus on design and tend to stop before the tough construction phase begins. Is this wrong? Not necessarily. It reminds me of my time spent as a recruitment chairman for my fraternity.

Am I going to tell recruits all of our fraternity’s flaws and faults? Absolutely not. I want more men to join!

My thought is, however, that students could be much more prepared if they were familiar with the less-than-desirable sides of architecture: detailing, budgeting, scheduling, etc. Students might just fall in love with architecture despite her shortcomings,

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or possibly even learn to love them.

My studio-mate Angel put it well when he said, “There are two times we are baptized into fire:” the first being when we enter architecture school and the second is when we enter the marketplace.

To help diminish this, my hope is that all students would be given the opportunity to experience something similar to that which we have: getting their hands dirty and really understanding the construction of a building, making adjustments based on cost while maintaining design integrity, and talking face to face with the very people occupying the future structure.

During my recent visit to Prime Design here in Manhattan, Brad Buser affirmed my thinking.

The real world, he said, really isn’t like what he experienced in school at all. What if our architecture studios (at least toward the end of our education) reflected more accurately what a firm is actually like post-college? What if the design-make education process was more widely incorporated? Summer internships and shadowing firms certainly help.

Imagine with me, however, that studios themselves were more like this pseudo-employment of Design + Make we’re currently engaged in. Imagine if all graduates entered the work force with this sort of experience under their belts. What knowledge men and women with a degree in architecture would possess!

Sources: Willlis, Judy. Research-based strategies to ignite student learning: insights from a neurologist and classroom teacher. Hawker Brownlow Education, 2009.

“Quotes for All Occasions.” A-Z Quotes. Accessed March 06, 2018. http://www.azquotes.com/.

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Illustration by iStock/dane_mark

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WHY CAN A DESIGN STILL FAIL WITH CLEAR GOALS AND OBJECTIVES?

Using goals to lead your life can be applied to the way we approach clients to understand and accept the proposals. Just like when you say, I want to wake up early or I want to save money. These “what to dos” are just some options that can be applied on any objectives such as a healthier lifestyle, or desire for wealth, but what’s the reason behind all of these? What’s the goal for your objectives?

Having a clear understanding of the goal that will be achieved from a design move makes it much easier to accept that design solution. The goal is what ultimately sells an idea. For example, while we were designing a house for artists, where they can stay and experience the prairie for a couple of weeks, the goals were lost in many of the presentations, making them much weaker proposals. When a proposal is presented, it is not so convincing if the presenter goes directly into the design decisions and begins listing every move made to change the house.

The delivery of an idea needs to be broken

Author

Aoran Zhang

Date

March 29, 2018

Abstract

When we first got in touch with our client, we explored the idea of building an artist residency. We were uncovering the infinite potentials in Volland. Through the many design proposals, the lesson I learned is that whatever design you come up with, it’s better to have a clear goal or purpose to support it. A lawyer cannot win a case without solid evidence supporting their claim, the same is true for architects.

down into steps so that the client can follow the same thought process. It’s essential to always tie the goal-objectives-solutions tightly. Referring to the book series, Architecture Dramatic, the design process is divided into 3 steps: set up a goal and think about why you want to do it; set up objectives to achieve your goal; list detailed solutions which are detailed options.

However, when brainstorming further about the design, the decisions being made slowly began to steer away from the objective once new issues arose that did not relate to the goal and only introduced new objectives that were irrelevant to the goal. Like how to fit two artists at one time?

After fixing this issue, neither of the artists will have a desirable experience in the house any more.

The yellow line indicates the sliding panel which separates the two artists from each other, and they both have their own bathroom so that they won’t disturb each other at night. Seems like it works in the plan, but in reality, will people be comfortable sleeping next to a stranger with just VOLLAND, KS | A PLACE FOR ART

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a sliding panel in between? Is it comfortable that two artists share 500 sq.ft. of space? The green line

highlights an outdoor gathering space.

Honestly, when I came up with this space, I just wanted to make the foundation a good looking square, then make up some excuses to make it reasonable. Does the house really need this large

outdoor area? What would it be like when it is not in use? Do I consider the smell from the rancher that could occur in the outdoor area? After a few more visits to Volland, the smell from the cows didn’t give me a good experience, needless to say the future residents’ experience. From these solutions, we can then track back to the original design intention, and ask am I still trying to keep the original goal: “making a good experience” anymore? Obviously, I’m off track.

The further the proposal was developed, the less relevance the design decisions had for improving the experience. The objectives lost its connection between the goal and solution, which turned the design into a problem-solving strategy.

I found that, not only I, but the studio sometimes failed the objectives during the design process. Everyone wants to design a good artist residency, and we just jump right into the solutions: “The building should face north since direct sunlight is unfriendly to artists”, “The interior wall should go away since artists need open space”, “the counter space can be large since I’ve never seen people complain their working space is too large” these design decisions, or solutions, are all right, and they all have a reason to support it. But can we create a good overall design by just combining whatever we want together? These solutions seem like we are fixing the parts we don’t like, instead of the bigger objectives and goals. Clear objectives are needed to support the goal.

Countless times we failed to follow the original design intention, and instead to “make the program work” became our the first priority.

Everything would work. The owner or the contractor can also design whatever they like. But what I learned is, as a future architect, the goal should be the chain to link all design movements to be a

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PROPOSALS

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LESSONS LEARNED

The 2017-2018 Design Make

letterheads, and social media.

studio project has transformed the way

The value of teamwork is yet

each studio member thinks about design,

another valuable lesson this studio has

community, and the impact of art. We

afforded us. Contrary to the format of

have learned the importance of research

past studios, this project can only be

into the history, site, and community;

accomplished through an integration

and how greatly it can affect a design’s

of collective thought and effort. Only

outcome. Even the characteristics we

through this harmony can this project

study have expanded beyond our usual

be accomplished.

research including the study of materials

by brick stacking.

appreciate Volland, and the incredible

The way in which we communicate

things it has to offer. Truthfully, many

has evolved as well, adjusting to the needs

of us were hesitant when we first arrived

of a certain goal or audience. Whether it is

on site, but over the months Volland has

a formal presentation or a small meeting

been a teacher itself. It has educated

with the Volland board, we have learned

us on its rich history, its surprisingly

to tailor to any occasion. This project

flourishing

has taught us how to communicate as a

and its potential to impact countless

single professional entity, utilizing logos,

lives.

Most of all, we have learned to

surrounding

community,

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PROPOSALS

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LOOKING AHEAD

A successful process of an adaptive reuse

Design+Make Studio takes exceptional

project takes time to develop, yet the

pride in the imprint left by this project.

excitement for Volland continues to grow

amongst the community as the reality of

continue to evolve until its final minute

this project takes another step forward.

of construction. However, the revival

As the studio’s engagement with

of a historical place in the Flint Hills

the project closes, a completely new

will unfold over decades as the Volland

chapter opens for Volland. The process

Institute, an artist community forms and

of design and discovery that has been

transforms over time.

illuminated by the research and work

created by the studio is being passed

project will be measured by the work

along to a professional team of architects

produced by artists that are influenced

to conclude the final construction of the

by the architecture they inhabit and

project.

the landscape they embrace. We look

The design of the residency will

The

true

impact

of

this

In essence, the team exploring

forward to seeing Volland grow into a

Volland is expanding, further engaging

full artist residency program. We are

the unique environment that is Volland.

truly grateful to have been a small piece

Each and every member of the 2017-2018

of the puzzle.

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