INFLUX Design Studio Fall 2008 instructor: Danelle Gutherie
Architects usually design in a way that gives them the maximum possible control, and end up creating spaces with a limited identity. However, we know that the built environment usually outlives their initial programmed use, creating multiple identities throughout its physical life. Designed to be static, buildings are anything but that. What happens after the initial use is considered beyond the control and responsibility of the architect. This project challenges the status quo approach to designing. Issues of permanance, control, planning for the unknown, and responsibility for future uses are questioned.
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SITE: ANN ARBOR, MI
The site was located in one of the lowest lying areas of Ann Arbor, Michigan, making it susceptible to flooding. Rather than attempting to counter this force of nature, the design attempted to accept and accommodate changing conditions. The program itself, short term housing and work/gallery space for artists, is designed for constantly changing situations, catering to the spatial accommodations for each individual or seasonal condition.
Diagram investigating spatial hierarchy dependent on environmental conditions
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Artist Residences Parking Stage Flexible Space Storage Room Outdoor Space / Stage
7. Flexible Space 8. Display / Seating
9. Roof Gallery 10. Seating
The spatial variations that configure to the temporary nature of the program
To convert the concept into something physical, the space itself had to be a conflux of flexible spaces and mixed uses. Walls could convert into floors. Shelves turn into seating. Fabric partitions connected between the matrix of columns to configure and reconfigure into various spaces. The spaces needed to readjust and reconfigure with both each artist’s needs as well as the changes in the environment. As a result, the traditional roles designated to spaces for specific uses is lost, their identities converted into a temporary condition.The loss is necessary, freeing the spaces to become anything it needs to be when needed.
The temporary space is produced through the reconfigurations of fabric partitions, which connect between the column grid. Programmatic as well as environmental conditions dictate the layout.
Performance art stage. In case of overflow, the walls which normally function as displays for artwork fold down to bridge the second floor to the stage, becoming seating in the process.
FORMWORK Design Studio Winter 2008 instructor(s): Karl Daubmann partner: Adam Melius
The site, currently a split level parking lot, provided an interesting convergence of weather, traffic and cultural flows. The design revolved around translating between physical and digital mediums that explored the act of fluid conversation between digital and analogic mediums. The natatorium’s design is based around the concept of water. The circulation of both pedestrian and automobiles to, through, and around the building in a fluid motion. The entire building acts as one continuous ramp, twisting around the central swimming pool and integrating both the circulation and active spaces seamlessly.
[ ] The site is a parking garage in Cincinnati, OH. One block from Zaha Hadid’s Center for Art, in the shadow of Proctor and Gamble’s corporate Headquarters, and underneath two major aterial highways, the site is a confluence of cultural, sonic, economic and environmental stimuli. In addition, the unconventional shape posits a literal outside-of-box design approach. SITE: CINCINNATI, OH
TRAFFIC/ WIND/ NOISE PATTERN
FITNESS CENTER
PARKING
BLEACHERS LOCKER ROOMS
ENTRANCE GROUND PARKING RECEPTION (UNDER POOL) POOL OFFICES/ CLASSROOMS
PROGRAM BREAKDOWN
The fluid shape of the building was derived from the curvatures created by the piano wire model. The wire model was translated into the digital medium through a three dimensional digitizer as a wire model. Walls and subsequent spaces emerged from the frame by programmatic necessities. This method of designing created a unique situation where traditional floor plans would not be of use and the visual description was relayed through diagrams and sections.
The building revolves around the core programmatic element (olympic regulation size swimming pool). The continuous structure transitions seamlessly between circulation, workout spaces and into bleacher seating.
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Scale: 1/32” = 1’
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Parking and Car Drop-off View
Pedestrian Entry View
INTERIOR VIEW OF POOL
PEDESTRIAN ENTRY
Conceptual Water Drainage Study
Tijolo Brick The most common building material used in Brazil. Due to its high porosity, it is generally waterproofed. However, most favela residents cannot afford to do that, leaving many buildings exposed to the elements and susceptable to moisture retention.
Acaba Mundo Favela Mass Model (right) The idealized building shape (red) compared to the buildings in Acaba Mundo
VERIFY IN FIELD Design Studio Winter 2009 instructor: Fernando Lara
At the perimeter of Belo Horizonte, Acaba Mundo, like many favelas (informal settlements) in Brazil, epitomizes the bottom up urbanization model. Communities such as these are the result of an increasing socioeconomic class, marginalized by government and society. Despite the lack of many amenities, these informal settlements creatively utilize various means to address this issue, resulting in incredible spaces. As architects and planners, our challenge is to design for urban spaces that are based on on local conditions rather than a master plan. A visit to the site analyzed the environmental, material and built conditions. These were compared to regulated building methods to determine health and safety risks. The primary focus concerned water mitigation and structural stability. The project approach followed the same logic of the favela. By thinking of it like parametric modeling, that is, a bottom-up approach, the design focused around creating an assembly method. The assembly uses available materials and is within the skillset of the builders. This parametric approach allows for the propogation of the design without the architect’s direct involvement in each building.
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SITE: ACABA MUNDO, BELO HORIZONTE, BRAZIL
Every building in Acaba Mundo, like the rest of Brazil, follows a specific construction sequence. However, when implemented with material, technical and site constraints, it has an almost parametric effect, ensuring that no two buildings turn out alike. This practice creates unique spatial conditions which also has the potential to aggregate fundamental design flaws.
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2 Grout rebar
3 Cinder block foundation wall
4 Grout foundation wall
5 Fill floor with rubble or bricks
9 Fill columns with concrete
8 Forms around colum rebar
7 Lay tijolo brick walls
6 Pour concrete floor slab
1 Tie rafters or frame to columns
2 Install roofing tiles or sheets
2 Fill form with concrete
3 Lay reinforced concrete beams
4 Fill spaces with tijolo bricks
5 Top floor with concrete
Multi-Story Option
Roof Installation
1 Cinder block column footings
1 Formwork around top of wall
Observations of Detrimental Construction Practices
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3. Poor structural support over window 4. Brick orientation allows water penetration into interior space
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Localized Improvements The proposals followed two constraints: 1. All materials must be on site or easily accessible 2. The assembly must be within the skillset of the builders
Reorienting the tijolo bricks vertically to align the holes, creating an integrated gutter system that would direct water away from the building, minimizing water damage and mold.
Flattening oil drums, which can be found all around Acaba Mundo, and attaching them to the walls to create a rain screen, keeping water out and creating decorative tiling patterns.
Acaba Mundo is one of the more stable favelas in Brazil. Its relatively small size and access to resources, while still below the median standard of living, provides residents some opportunity for upward social mobility. Evidence of this include the addition of a school/community center, as well as strong community participation and a positive relationship with the local government and businesses.
CULINARY DETROIT Design Studio Fall 2007 instructor: Craig Borum
Eastern Market is a focal point in the slow, local food movement and one of the few sustainable regions in downtown Detroit. The design was for a culinary school located in an empty lot at Eastern Market. The project analyzed both the flexible spaces of the farmers market and the permanent spaces of the stores to propose a school that mimicked a miniature neighborhood, self sustaining and yet reliant on the surrounding stores for its success. SCHOOL
KITCHEN
The ‘core’ of the structure was the culinarySCHOOL arts school, more specifically, the kitchen. The other programs branched from it and the interstitial spaces that SCHOOL PUBLIC SPACE emerged createdPUBLIC theSPACE flexible public space, whose use was dictated by the programmatic and environmental SCHOOL conditions. PUBLIC SPACE
RESTAURANT
Duct Core
Library / Resource
Demonstration Kitchen
Bakery
Bakery
Prep Kitchen
SITE: EASTERN MARKET, DETROIT MI
CLASSROOM
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LOCKER
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-General Public Space -Sports Related Events -Outdoor Dining -Outdoor Culinary Program -Market Venues -Private/Public Venues
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8. Pastry Kitchen 9. Restroom 10. Lecture Hall 11. Learning Kitchen 12. Library 13. Classroom 14. Flexible Public Space
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Restaurant Kitchen Administrative Offices Student Entry Flexible Public Space Elevator Flexible Public Space
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By compartmentalizing each of the major programmatic areas, then encasing the structure in glass, open spaces are made simultaneously public and privatized. These public spaces can be thought of as flexible community space, behaving as both circulation and activity centers. Its use is similar to how a cafe sidewalk or a urban plaza functions.
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NORTH NORTH
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MAX/MIN Design Studio Fall 2007 instructor: Craig Borum
At Mies van der Rohe’s 860-880 Lakeshore Drive, an addition on its roof, a restaurant, became the site of this studio project. The design focused on the open floor plan’s infinite variability. Using the Miesian grid as a reference, the space is partitioned by intelligent privacy glass panels (which alter between transparent and opaque states when an electric current is applied), allowing for multiple spatial configurations without physically manipulating the walls.
Variation within Static Space Study
SITE: 860-880 LAKESHORE DRIVE CHIGACO, IL
Privacy glass allows the space to become reconfigurable without moving partitions. The flexibility of the space is a result of the restaurant’s programmatic necessity.
ROOF
MAIN DINING FLOOR
KITCHEN
Primary and Secondary Folds
PAPERSPAN Design Studio Winter 2008 instructor: Karl Daubmann partner: Adam Melius
Utilizing paper as a structural and formal medium, the project required the structure to span a certain distance. Using the formal and structural capabilities of origami, specifically the works of Josef Albers, we designed and built a structural form that not only could fulfill the requirement, but did so in a way that allowed it to be flexible to any potential changes
WIRE SPAN Design Studio Winter 2008 instructor(s): Karl Daubmann/Glenn Wilcox/Paola Zellner partner: Suma Pandhi
As an exercise for studio, an egg had to be suspended over a certain distance using only piano wire and solder. The design was conceived of as a field condition, one that directed the egg to a determined location regardless of its initial position. Elements of tension, compression and spatial activation were considered in the construct.
UPSCALE Sustainable Material Construction Winter 2009 instructor(s): Steven Mankouche partner: Katy Santer Francis Wilmore Courtney Brinegar
Research into the properties of mill scale lead to the development and design of two products. Decorative glass tiles were made by sandwiching a layer of scale between two sheets of slumped glass to create unique patterns. Additionally, the glass used were up cycled from excess trimmed pieces of automotive glass from a local glass manufacturing factory. Looking at the structural and magnetic attributes of scale lead to the design of a cementitious tile utilizing scale as an aggregate, making the tile magnetic and electrically conductive.
DANCERS Processing Fall 2009 instructor: Nicholas Senske
Processing is an open source programming language designed for digital media artists, architects and designers who wish to utilize programming as a design tool. This project derives its foundation from the random walk mathematical formula, which generates a random visual pattern. To create generative and responsive art by transmediation processes (the interaction between two media), two object classes (the ‘dancers’) ‘dance’ together to the music of Brian Eno’s Music for Airports. Additionally, their size and color also respond to the volume of the music. The paths the dancers made created a unique painting, and the installation is designed to be projected upon large surfaces, preferably in a public space.
import ddf.minim.*; import ddf.minim.analysis.*; Minim minim; AudioPlayer song; Dancer d1; Dancer d2; void setup(){ minim = new Minim(this); song = minim.loadFile(“eno.mp3”, 2048); song.loop(); size(1280,720,P3D); background(0);
}
d1 = new Dancer(); d2 = new Dancer();
void draw(){ //float m = map(mouseX,0,400,-300,300); //camera(m,50,200,width/2,height/2,0,0,1,0); //turning on the camera shows an interesting viewpoint. smooth(); translate(width/2,height/2,0); d1.move(); d1.draw(); d2.move(); d2.draw(); } class Dancer { color c; float x; float y; float z; //float a = song.left.level() * 1000; //float b = song.right.level() * 1000; float k = song.mix.level(); // float j = map(k,-1,1,0,255); Dancer(){ float j = map(k,-1,1,0,10); c = color(int(random(0,255)),int(random(0,255)),int(random(0,255))); x = (0); y = (0); z = (0); } void move(){ float a = song.left.level()*40; float b = song.right.level()*40; //float l = map(a,0, x = x +random(-a,a);//amount of movement of the objects determined by the music levels y = y + random(-b,b); z = z + random(-a,a); }
}
void draw(){ float j = map(k,-1,1,0,10); fill(c,j); stroke(c,10); float l = song.mix.level() * 1500; ellipse(x,y,l,l);//ellipse size determined by the level of music }
// here we provide a way to mute out void keyPressed() { if ( key == ‘m’ ) { if ( song.isMuted() ) { song.unmute(); } else { song.mute(); } } }
The final project can be viewed at: http://www.openprocessing.org/ visuals/?visualID=6561
void stop() { // always close Minim audio classes when you are finished with them song.close(); // always stop Minim before exiting minim.stop(); // this closes the sketch super.stop(); }
GROWTH/FORM Architecture Representation Fall 2008 instructor: Malcolm McCullough
Base
Human
This project investigates the use of parametric modelling (grasshopper plugin for rhino3d), outside of architecture. Using D’arcy Thompson’s work on mathematical relationships between species physiologies, the project attempts to establish a relationship between vertebrate species. Specifically, the correlations between the skeletal structure of the arm. By manipulating proportions of length and width between the bones, a variety of species can be created from a single base, which can be thought of as a common ancestor. Extrapolating on this, parametric modelling can be utilized by the paleontological field to map the evolutionary tree, mapping found species, predicting possible undiscovered ones and projecting into possible evolutionary modifications.
TEMPLE ST Construction Project Management 2005-2007 General Contractor/ Construction Manager: Bartlett, Brainard & Eacott inc. Architect: Roth & Moore Architects (New Haven, Connecticut)
The Temple St. project, as it was known internally, was a combination of an urban renewal and historic renovation/preservation project. Located in downtown Hartford, Connecticut, the site was situated in one of the busiest areas of the city. The project was three separate buildings simultaneously under construction. Featured prominently along Main Street was the Sage Allen Department Store, an existing building which had been abandoned since the 1980’s. This was converted into a mixed use residential and commercial space and gained a historic landmark status in the process. The back (east end) of the site was transformed into a three level underground parking garage, with University student housing built on top, providing a link between downtown and the University of Hartford. My role as project engineer for the general contractor was to act as both a junior project manager, managing the daily activities of all three buildings, and a secondary site superindentent, undertaking the coordination of sub contractors, deliveries, site safety management, and having direct oversight over portions of the project. My position included maintaining all documentation at both site and main offices, recording and managing all meeting notes, scheduling meetings with subcontractors, owners, building officials, and architects, assisting the project manager with budgets and schedules, and ensuring the dissemination of drawings to all relevant parties.
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The site is located in the center of downtown Hartford, at the corner of Main and Temple St. which is primarily a business oriented zoning area. The project consisted of three buildings. (A) was the renovated Sage Allen building, which was converted into a mixed use residential and commercial space. (B) was student housing for the University of Hartford which rested on (C), a three level underground parking garage. Hartford, Connecticut (USA)
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First built in 1889, the Sage Allen building was a well known department store in New England. Since closing in the 1980’s, the building was abandoned and remained vacant, and its promient location along Main Street attracted negative attention which reflected the suburban white flight of the 80’s and 90’s. This project attempts to create a renaissance of urban living, to redevelop downtown Hartford by attracting students and young professionals to local businesses and services.
Parking garage and student housing sequence. The parking garage was built with precast concrete filigree panels, while the housing was built with traditional wood framing techniques.
HOT DAMN Independent Project/Commission Fall 2008
The inspiration for the project emerged out of necessity. Existing sleeves provided inadequate insulation, so I used the opportunity to design a cup holder holder. It turned into a full blown product design and development (going through multiple iterations and material studies), including material up-cycling, and packaging. The container for the cup holder became a separate project, to complete the concept. Utilizing 3D plastic printing technology, the package is designed to take up minimal space as well as providing the maximum protection in a beautiful shape.
ALOHA Thesis Seminar Winter 2010 instructor: Dawn Gilpin
Invisible forces exist that can physically affect the space we inhabit, particularly in the a healing environment such as a hospital. The focus of this particular exploration dealt with how our bodies experience space and how forces that are not visible can still manifest and affect our perception. Using a combination of found objects, the object itself is a mechanism to read and translate these unseen forces as well as being a metaphor for the objectification and disembodiment a patient may feel in a sterile environment, common in medical spaces. The object translates to a proposition of a space that offers an intimate and familiar environment while still maintaining performance related attributes.
The construct helps us to visualize invisible forces, such as magnetic fields or the subtle exchanges of engergies from the external environment. The delicate balance created is sensitive to these forces, and triggers the motion of the hand.
[RE]CONSTRUCTION Thesis Seminar Winter 2010 instructor: Dawn Gilpin
A body, be it a building or any other structure, can be read as a series of sections. This logic can be applied to the design of a better hospital. The section allows us to read a moment in a specific space as well as showing its relation with the subsequent section and the whole. The closest analogy in the medical field is tomographic imaging, such as MRI’s. The brain, once reconstituted, is able to be read as both a two dimensional section and as a whole simultaneously.
SILK SCREEN PRINTS Independent Study 2009-2010
Screen printing has become a personal hobby that I integrated in my design research. In school, I utilized the laser cutter and used mylar sheets to not only study and develop new printing techniques, but also propagate and share knowledge and skills, to freely provide accessible screen printing techniques to the design community.
KUKA (2009) To commemorate our final studio review, the kuka 7-axis robotic arm tshirt was printed. This design was subsequently commissioned to be on shirts for the school’s administrative staff, and was adopted as the official logo of TCAUP’s digital fabrication lab.
Beard/Off (2009) Beginning as a beard competition of a friend, Beard/Off was the first silk screen project. The design separates the top and bottom screens so each person could create their own beard.
Detroitus (2009) (collaboration with Mary O’Malley) This design investigated the variation of space as a series. The figure ground plans of Detroit’s decay created a bold, abstract pattern as well as providing an interesting study of urban space.
(above) Ciej (2010)/ (below) Anmwe (2010) Both designs were created in response to the devestating earthquake in Haiti. The shirts were designed and printed and sold to raise money for Healing Hands for Haiti, a non profit organization that provides medical services and prosthetics to Haitians. Each shirt was screen printed by student volunteers. ‘Amwe’ means ‘help’ in Haitian creole.
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The Ciej design created an interesting opportunity because it reversed the application of the ink from the figure to the background.
a nmwe
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My World (2009) In response to the pregnancies of several of my friends, I took the opportunity to investigate the changing of the human form and how a static design could interact with the body. The design captializes on both the morphology and the symbolism of the bond between mother and unborn child.
PK (2010) Part homage and part experimentation with lineweights, PK takes the image and works of Perry Kulper and pushes the limits of the screen printing process.
CMYMe (2010) Exploration of mixing full color printing process by overlaying cyan, magenta, yellow and black print layers with hand printing, the imperfections creating unique prints